Let's Paint Flowers!-Sunflowers using Modern Loose watercolor Technique! | Kate Bentley SWA | Skillshare

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Let's Paint Flowers!-Sunflowers using Modern Loose watercolor Technique!

teacher avatar Kate Bentley SWA, Professional Artist

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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

21 Lessons (1h 27m)
    • 1. Hello & Welcome!

      1:53
    • 2. Choosing Our Angles

      1:51
    • 3. Let's Talk Paints

      10:03
    • 4. Planning & Experimenting

      5:28
    • 5. What We'll Need

      2:30
    • 6. Water Spray Effect

      3:15
    • 7. Wax & Toothbrush

      4:13
    • 8. Watercolour Pencils

      1:27
    • 9. Printing Time

      2:16
    • 10. Wax Again & Salt

      2:38
    • 11. Making a Block

      2:41
    • 12. Negative Space & Quick Tip

      4:54
    • 13. Lets Get Drawing!

      3:53
    • 14. Mixing Time!

      5:20
    • 15. Lets Paint Part 1

      1:54
    • 16. Lets Paint Part 2

      7:33
    • 17. Lets Paint Part 3

      7:29
    • 18. Lets Paint Part 4

      9:10
    • 19. Background Time

      5:26
    • 20. Let's Review

      1:54
    • 21. Thank You & Goodbye!

      1:37
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About This Class

Fast and Loose...Sunflowers

This class is designed for the improver ..but to be honest anyone can give it a go with Kate's comprehensive instructions !

Kate will talk you though step by step her paint choices,material advice,drawing advice ,practice pieces,special effects,experimentation and  with tips and tricks along the way.

Her style in this video is to encourage fast and loose modern watercolours with this sunny subject matter and she will also demonstrate with experimental media and  salt technique plus a section on  laying in backgrounds to florals.

List of Materials .

ADVISORY EQUIPMENT

Paint comes in 1/2 pan, full pan, or tubes.

I would  buy tubes from the Winsor and Newton or Daler Rowney manufacturers if you have a choice

You might  struggle using pans of colour  later as it is difficult to mix large quantities for skies etc but if thats what you already have then thats fine...you can always buy the odd tube of blue!

 Paints I use in this video

Warm transparent yellow eg .Indian Yellow

Cool Yellow e.g. Lemon Yellow

Raw Umber (Daler Rowney)

Ultramarine Blue

Burnt sienna

Other materials used in the video

Salt,wax pastel,scalpel,sandpaper,watercolour pencils,waterspray,netting

Sky wash brush.

140-200lb  General purpose watercolour paper..in the trade this is called NOT paper

General advice and equipment

Paints I use in my normal painting kit

  • French Ultramarine
  • New Gamboge /Indian Yellow (or  Quinacridone gold)
  • Aureolin/Lemon yellow
  • Burnt Sienna
  • Rose Madder or Quinacridone Magenta
  • Raw Umber-I only use Daler Rowneys version of this colour as it remains dark when diluted and is non staining.If you cant find this use the darkest brown you have.
  • Raw sienna
  • Manganese blue (transparent) or cerulean

 

  • *Cadmium red and yellow
  • *Prussian Blue/Indigo
  • *Crimson Alizarin
  • *Colbalt

*Not absolutely necessary but can be useful!

BRUSHES-

I prefer to use Acrylic hair brushes on the whole and they are cheaper than sable!. I recommend you start off with this type.

 Rounds; acrylic haired (not sable/hog)- No 12

 

 I use Rosemarys brushes Designer range for my No 12 round (only available from Rosemarys Brushes direct)

 and Pro-art  Prolene Plus  007 Acrylic No 12 round watercolour brushes are great, readily available but a bit more expensive funnily enough.

Flat; acrylic haired (not sable/hog)-  No 4 (and 12 or depending upon labelling- 1cm and a 2cm)

 

Mop headed brush (soft hair )

 SUNDRIES

Drawing board-MDF or Plywood A2-3 size

Masking tape-2 inch wide- no less

Mixing palette  –with flat mixing areas or white china plate and old jar lids

 2 large Water containers(size of a childs seaside bucket is ideal)

Kitchen towel/paper

Pencils e.g. 2B and sharpener/rubber and watercolour pencils if you already have them

Hairdryer*

 

PAPER

 -A selection of A4,A3, Bockingford ‘NOT’ watercolour paper- or Seawhite or Langton

 preferably 140lb- 200lbs

NB If you go to any art shop –ask for advice- especially regarding papers- the whole business can be very confusing if you are a beginner.

 

Meet Your Teacher

Teacher Profile Image

Kate Bentley SWA

Professional Artist

Teacher

 Kate Bentley S.W.A. is an multi award-winning professional painter based in the English Lake District.

She is an elected member of the Society of Women Artists and The Lakes Artists Society and her work is held in both private and public collections.

 When time and Covid 19 allows Kate runs private painting workshops in the Lyth Valley in the Southern Lake District.

Kate has broad teaching experience and has been teaching for 25 years and in the past has worked for painting holiday specialists Authentic Adventures, Solo Holidays and P&O Cruises.

 

PROFESSIONAL LIFE

Kate Bentley S.W.A.  

In the studio Kate usually works from her imagination often referring to sketches from en-plein air exp... See full profile

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Transcripts

1. Hello & Welcome!: Hi guys. This is what we're gonna paint day. Hopefully. I'm going to start off with some really good tips of how to draw something as complex as this. We're going to show you how to lay your color down, mix your color. Pay a little bit more experimental. I'm gonna give you some great techniques today. We're gonna be using salt. We're gonna be lifting off paint. We're going to push the boundaries a little bit. Hopefully, this video be suitable for anybody. Begin is don't put off, just relax and have fun. It's more about the process that you'll get most out of the rather than precision and an end product that he can fail to have fun. When you've got looking at that all day. 2. Choosing Our Angles: So I just got back from my garden and I found this lovely some flour. And I'm now back to my studio. This is a really useful exercise to help you decide what color you might like to paint the background. So say good, just to take a couple of shots. Thinking about composition. What actually as is it that you like about last sunflower? I think comes certain deciding are like the black center contrast against the yellow and then the white paper. But I will try with some different backgrounds to, so here is against a blue background, which actually is really lovely to just going to look at it from another angle. What I think I've decided I'd quite like to paint it with the block centre. Just as a nice sturdy. So these images distills for you and you can pick them up. He obviously if you have your own sunflowers are similar subject, use those always better to paint from still, from real life. But if your struggling for subject matter or you don't have access to live flowers, then gives my images also, if you're a complete beginner, you might actually find it a bit easier to use photographs that will help me with your drawing initially, but we'll talk about that in shortly. 3. Let's Talk Paints : So let's get started. What I'd like to do, but I start anything at all is to work out what colors I'm going to use. Obviously, the yellows are pretty important here. And it's screaming at me that it's a warm yellow as opposed to a cool yellow or hope you can all see that. It's got an, moreover, an orangey tone than a greenish tone, which puts it on a warm spectrum. So that then helps me narrow down which colors I can use. And that suggests that you just use what you have, um, but look for that color as an indicator, as in a warm color. So I've a few options here. Actually, I have a raw sienna, an Indian yellow, and a new gumbo, SSH, and cadmium yellow. Now, cadmium yellow, I'll just squeeze some out for you. So it can have a play there. Cadmium, new gumbo, SHE, Indian Yellow and Ross Tiana. And they are all warm yellows. As you can see. They vary enormously. The biggest difference in these are that these three are transparent. And this gives me, this one is uptake. And the other thing you need to bear in mind is which colors are staining. Which means that when you want to lift the color off the surface, you'll find it easier if your paint is a non-sustaining color. Now you'll find all that information on your paint charts are online. The information's there, you just have to find it. But any questions? If you can't find any information, just drop me a line through three skill share. Okay, so as you can see here, so a dirty brush. And when to use my flat brush. One I makes still getting a lot of red. Okay, so this is the cadmium and we're pretty similar. We already, so because stay there and stick without color. But actually I tried to work with transparent colors. And we have another that's the new ambush. And this is the Indian yellow. And this is the raw sienna. She's very transparent. You can see I have troubles that are pulling that down. So all those colors, I think actually, they're all pretty, pretty good. Although to me and in yellow at the moment is shouting that that would be the one that I might like to use, but a combination of these yellows is also on the cards. The cadmium yellow, I say sometimes they use that as it's opaque. I use it tend to be on the final layers it, he had too many opaque colors into your Makes. You often end up with mud. So any of you who have a tendency to create mud, not unintentionally than that's what I suggest. Ok, so I've now got some browned out, thinking that actually adding some of the brands that we see in the center, there can actually be added to create some of the tones in my yellows as well. I might change my mind, but that's my current thinking. So of course, a few choices out here. So I've got a Winsor Newton burn some, which actually has dried up so we won't use that one. I can tell adopt often, actually use very often. This is a tail around me. Fund Dyke brown. This is my favorite. This is daily Romney RA, remember, it's a completely different color to most of the rural rainbows because it's an actual pigment. It'll be mined to somewhere completely different. Some of the other brands. Just leave those in order. And again, this is one that I got because it was going cheap is a White Nights by but it's what you're looking for is that lovely, deep brown. And fortunately some of the senior could you see pair? But check some of the CPS actually do stain and that makes it hard for you to lift off. By lifting off, I'll just quickly show you as we're in the mode here. So with the Indian yellow, if I wanted to lift off some light with a dump brush, I can lift off take a bit off with a cloth as well. So this is the Van Dyke brown, Winsor, Newton, Roomba. Probably my preference. Those a lot more warmth in, you can see that. And this is the white knights, which is quite a greenish ones. That's quite cool, isn't it? You can just about see that from. Samples There. Do electrophoresis makes a Inc. and mother said, I thought the Indian yellow might leave our best bet. So it is going to take a little bit of that here. A little petal shapes blending it with water on that side. So I've got a light and a dark section just to do a test on and to pick up a little bit as a rule, remember, and I'm now looking at my reference here and I'm just going to drop. It could be to shadow color in there was it's wet. Well, so lift softly blend. Just working out whether I think that's going to be the colors for me. You also could add, I'm just looking at this. You gumbo shares, that's a bit about Golden. This is where this is your sample. This is where you can experiment. You could do a 100 of these petals in different ways first before you even start. And some of them actually have a little bit of a coolish tinge to them as well. See, you could get a cool yellow out like a lemon yellow or REO lend. Again, those both transparent. Just check. Some lemon yellows are semi-opaque. Some of them are even opaque. So it again depends on the brand, so it's always worth checking. If you're ending up with mode and your painting seem very heavy. And that could be a reason why. So squeeze a little bit of REO laid out here. And I'm going to add some of the worms to it. And I think actually now I've done that a molecular bit happier with that sample, and I am with that sample. So again, I'm going to use the data around your umber drop in a cubit, a chateau. Into that. Because I think actually we can also see maybe a little bit more warmth than that. And much I've just got a little bit here. A burnt sienna that's dried up for my palate yesterday. Again, so that could be a consideration as well for some of the warm shadows. So now a formulated a plan. I'm going to use some mario Lind, I'm going to use some Indian yellow. I'm going to use my data around new raw rumba. And I've got my other colors as backup, probably the cadmium yellow is my biggest backup that will be used in the final layers. 4. Planning & Experimenting : So I thought it would be useful for you to see the other as a thickness that I've done in preparation for things like flowers Today's. So these are lots of little samples that I've done. And I've actually collect, collected them and stuck them into a book because I find it useful to show my students enter also to remind myself different ways that you can approach them thing. So all these petals of being done in a slightly different way. And again, it's worth you experimenting before you set two and try and do an accomplished piece of, of other flower. I'll just quickly go through some of the techniques that we've got here. So this one, I've laid the watch on and as it streams drying, I've just scratched my fingernail to create some lighter veins which you sometimes get in geraniums and that's OK. type thing. If you don't have fingernails, you can use a cocktail steak or something, something sharp ish. And this one, I have lifted out some of the light line, so I've used a flat brush. Some of these techniques I'll be showing you in the video, but it just gives you a little bit of a taster. This one I've dropped in dots of more concentrated paint to create this sort of like spotting mottling that you sometimes find in all kids. And here we've, I've actually just shaved some watercolor pencil into that unembellished. You're going to show you how to do that in a moment. This is just a layering of two different tones. I've painted a tone underneath and I've actually put some concentrated pigment around the edges, it's drying so we have a dark edge here. And then put another layer over the top. And just to show you that you can get this lovely such a detail in here. This is just a careful, bitter painting over the top to create another layer of tone. So that I think we need to do in preparation is to think about the center of that. Some flour. If we look at sets of close here, there's a lot of texture in there. And traditionally we think If a bit of a diamond pattern don't worry because when these filaments here have been pollinated, they set to see didn't. And we tend to have a little bit more of a stylization of the center of a i sum flower that we see in a lot of illustrations. So you can go more for that sort of style or you can go for just something that's textual. It depends on what stage of development and the flowers in anyway. But as you can see here, I've got a few, again, samples of the center of a sunflower. And I, each one I've, I've sort of tried to treat differently. So we're going to go ahead and do that, but I'll quickly just skip through some of these because you will have turned to all. These are not actually printed with a bit of net. Again, there's just this little bit of indication of texture here just helps. This one. I don't with a water spray. It could do that with some wax. And this one I've used salt to create some texture. And this one I've just scraped with corner of a credit card or you could use a palette knife. And I'm scraping back to reveal the texture of the paper, which is giving us the texture of the sand to the. And we'll do this in the next section. Just also wanted to show you this little sample I've done on a, on a different occasion. And I just wanted to show you how loose and suggestive you convey when it comes to painting. Anything really. But it's lovely to do with flowers. If you're interested in botanical studies, then maybe this video isn't for you, although you probably find it really useful. But I'm trying, I try to encourage people just have a bit more of a looser approach. And this is the type of thing that I would do. Just loosen up before I start and just throw some of the ideas in my colors before you actually paint from life. It's a bit different when you're painting from photographs. I can appreciate that, but if you have got some flowers in front of you of any type, then it's a really useful starting point for you before you. Lee pen. And set two and try and finish a, you know, a piece in one sitting. I just find that this preliminary work is valuable really. So the color planning that we did initially, and we're going to look at textures next. But this will give you a taste of things to come. 5. What We'll Need: Okay, so now we can have a bit more of a playtime. I love experimenting in this way. So I thought I'd just start off with a water spray and show you a few different effects that you can create. These two types I use, I use just a plant spray or detergent bottle or a small one. This is actually from a chemist or pharmacy. It's like a travel spray that you can just fill out yourself and then they're not very much money at all. And why I have to is that this one tends to give us bigger droplets and this one more refine and best and smaller droplets. So depending on what I'm doing or what scale I'm working at, either one of them is going to be right for the job. I'm just going to go through a couple of the other materials and then we'll set to what you'd like to get together is maybe some oil pass stalls, the transparent blending ones, or some wax just, you can just use a candle. Try not to use a colored one though, because it will leave a stain on your paper. Some watercolor pencils. These are the water soluble watercolor pencils. I have a large one here. I try to avoid the ones that are called ink tense because they stay in the paper. And that's not what I want. It's fine to users on the final layers if you want a little bit of a zing of a more intense colour, but doesn't the initial stages I would stay clear. Have a corner of a credit card that I've cut her up and that's really useful. I just wanted to point this out. We'll be using the rounded edge and the pointed edge for different jobs. Have a scalpel here, some rough sandpaper. And this is a bit of paper that I got from, I think a flourish. It's not paper, sorry. Piece of material that's from a florist supplies. Or you could use some NAT or even the net that comes around some of your groceries. So get lookout for anything that has a nice texture. And we can do a little bit of printing and different experiments with those items, okay. 6. Water Spray Effect: So I've squeezed out just because of habit Khaled around that she was the new gumbo, so a yellow just experimenting. I've got some burnt sienna and my daily rounding rule, remember, so that lovely dark chocolaty Brown You can see there. And first of all, we're just going to spray a little onto that surface. And I'm going to spray with a finer ones as well, just so that you can see. So here's a flat brush to mix up some paint. A drop of water because you're going to be adding it to more water on the surface so you can use using my number 12 round zeros memories rush those, you know, that company spoken about materials in a previous video. So just by dropping into the droplets that we can create that text to that we're after for that center. Remember the power of suggestion is better than giving all the information to the viewer. So you could even where it's KFC, it's dry it down here. You've actually could create a little bit of texture with your brush. So using the point is any bits that you don't lie core or just a little bit too wet. And just use your kitchen row to adapt that. And then you can work on that to refine it, putting shadows at subtype thing. These is my experiment to start off with. And then going to put some on the final water spray. And slightly different effect. I think the final one actually is better. In this instance. What a little bit more control. And just remember if you spray on, you get a big blob of water. Just mop off. Try your paper and do it again. But that to me is doing what I wanted to do. And you could add understanding a little bit ultramarine there just to get a little bit darker. So that's my, my first better VAT experiments and that's just with water spray. 7. Wax & Toothbrush: So this time we're going to use either the wax pastoral scenario one or you can buy these and England can Brumley supplies, supplies, Sally's, but you say you can use just a piece of candle, candle wax. And these actually, I'm finding a little bit better then the wax, the actual oil Postel sometimes behaves differently. So the thing about oil Postel and wax is E, obviously you can't see where you're putting them, so make sure that you're concentrating. And you will get a lovely broken texture. Like just going to put a little bit of detail onto the edge there. And you can also put, I'm just going to just show you. So if we had a paler color underneath, you wanted to sort of maybe bring out a little bit with the warmth of that center. He could let that dry or you can go over the top now and you still can. You see how that creates some slight texture anyway. Even while says white. But you can let that dry. I'll just do a little bit more so that we can go back when it's dry. And then put a darker color over the top, which we'll do in a moment. One thing I didn't point out is to look for some old brushes. He could use no decorating brush. And not, she can say that's going to create some really lovely texture as well. So that's probably the moment looking quite hopeful isn't hurt. Or it could be a mixture of techniques. So we could stick pullover. That's a little bit damp for me to be doing that actually. But we could add on to other sections. Okay, so we know an old brush isn't the thing you can use, or indeed a toothbrush. If you want to go a little bit more experimental with them and work on a large scale. He could splatter as well. So I've purchased to misconstrue what? Circleup. It's been tonight with my toothbrush. Distributed test first. So little bit of spattering in there. And it doesn't matter if it goes all over the other parts of the painting. It's part of a style I know you'll all be familiar with. It's very popular at the moment. You could also actually just create a little paper mask to go around the outside if he didn't want. He can keep spraying, you can keep sputtering into that as it's drying. In ESA. The longer you leave it, the more texture you get. And you can even splatter on that one that's try just to bring out a little bit of detail into that. 8. Watercolour Pencils: Okay, so we're going to use some of the watercolor pencils. Now. Again, I'm just going to watch a little area here. And there's a few ways you can do this. And I feel different products on the market. This is establish a massive, great, big watercolor pencil. And they can just scrape some of that off. You can get some really lovely affects. What we can do the same thing with some paper or just do a little, another little circle. I love the fact that you get here. This way is a bit finer. Quick could be a mixture of the two photoelectric visit. They somehow we could present it with a mass is still wet. 9. Printing Time: So whatever printing he is me. So first photos, some scrap piece of paper. I'm just going to put some paint. And even the piece of paper that looks okay. We could print. Let's see if this works. Sketch paper here. I quite like that is quite a nice random texture. And even on the paper that I've used to print with over the top, we've got some Christ quite nice texture. So it's worth experimenting with these different things. You even, you can leave. It's on a wet surface and put a weight on top as well. So we could, for example, make sure you put enough paint in this is to be dark fee to be able to see the light and the size. Sometimes these things don't work, but sometimes they work beautifully. So I'm just going to scrunch that up. Put a face of paper over the top. Or you could put please to cling film and then a flat weight to go on top of there. And we'll reveal it in a minute. Ok. Put some jars of water over the top and we'll see what happens. 10. Wax Again & Salt: Ok, so finally, I'm going to just go back over this dry sample here with the wax. She oil pastor. And go over with a much darker color here. That works quite well. To just note, you can see where it is resisting, but you can, you have to be careful with wax because if you have say you put too much on and you want to add more tone, it's doesn't always work. It's great for highlights, so it's worth considering. And finally, we're going to have a little go we sold because everybody loves to play with some salts. So I'm just going to make sure that my dark, it's dark enough. I'm adding a little bit of ultramarine into that room. And Cupid or again, salt is one of these things that work some times and not others. The trickiest is it mustn't be too wet, so it mustn't be too dry. So I think that's just about rights. It won't work if you've got big puddles of water, but equally, it won't work either. If they gloss is gone off the surface of the paint. So receptor Lisa, leave our net. I put a cup of water on there in the end. I'm not sure if that's going to work, but you know, that's the joy of what color. This is the one with the salt hasn't really worked out well. To be honest, you could try a larger grain of salt. This is just table salt, China, some rock salts or some molten salt. But she got another one here. This drying looks like he might be more successful. And over here is where the net was. Again, not quite right for here, that might be useful on another occasion. Ok. So two friends have made today oh no, they just decided to go. But they're the ones out there. My studio assistance. 11. Making a Block: This is the paper I'm going to be painting on today. It's an A3 pad. You could do it at a four or any sized really. And because this is a fairly lightweight paper, Sonya, a 150 pounds here, you probably need to either take it off the pad and place it on a board and tape it down. But make sure you tape it with a white tape and really pressed down the edges and that crease that you get between where the paper is and the board behind. You need to renew fingernail along to make sure it's stepped down fast. The alternative is to use a heavyweight paper or to use a block. Now for those of you don't know what a block is. A block is a pad of paper like this that's being gum on all four sides. And that makes a secure service. So you have your paper will go far flat when you've when it's all dry. It doesn't mean that it's not going to cocoa Wash U painting on it, but it will go flat. So I'm actually going to make my own blocks are always more expensive than a pad of paper. But really you can just make your own. And I discovered this method because I turned up somewhere on occasion and I didn't have enough pieces of paper of the right weight. So I just thought, oh, well, I've got nothing to lose. I had some wide tape with me. And so that's what I did. So it's already on the top side, doesn't work well with a spiral pad that I have done it and it sort of worked to a certain degree. But as you can see, I've taped on all three sides now. And the top edge is governed anyway. So I now have a nice secure surface to paint on where this is going to help it prevent cochlear little bit. And as you, as you will see, my paper doesn't actually cockle because I haven't thoroughly wetted the whole thing. I've just sweat certain areas and it did dry flat. So give it a go. 12. Negative Space & Quick Tip : Okay, so I found this old calendar just by chance this afternoon over some flour. And I thought, I'll just go through a little bit about drawing. For those of you who are less confident or a beginners, you might like to actually start off with a photograph. And you should find at the end of this video a black and white photograph of a sunflower that we're going to be using. By using the black and white or on, it'll help you initially to get your drawing in order. Hopefully, you'll be less distracted with a color. And it will also help you with your tones initially, we will talk about that later. So by working from a photograph, we often can see shape a little bit easier because we can crop it to a shape like I've done here. And we can see what we call the negative space around an object. I'm actually going to draw around it for you so that you can see exactly what our main, because it's a little bit too many yellow's in here. So if we draw around these petal shapes here, this is the negative space, and this is the positive space. And what's our brain does is it tries to organize things into recognizable objects. So it tells you lots of little lies about what you think a petal should look like. And that's when people's drawing fails quite often. So useful tip is for you to mentally just look at the negative space. So you're looking at this shape. And if he liked, you know, I've just sort of just block that in quickly. So we're actually looking at the black shapes rather than the yellow shapes. By concentrating on the black shapes rather than the yellow shapes. Hopefully, you'll get a more accurate drawings or hope, hope that's helped. Another thing that will help is if you crop into an even a smaller area. I'll just do it down here. And by may be concentrating on a quarter of your composition at a time. That's again, we'll help you define the shapes that you are looking at. Another handy tip. Not probably relevant for flowers, but in lots of cases, is to actually turn your image that you're copying upside down and your painting or your preliminary drawing. And that again, will help you look for shape rather than what your brain is telling you you're seeing. So this is the charts that I was talking about. These charts will give you the information that I was talking about. So they'll tell you which colors are opaque staining within their granulate taking on and they're permanent, say. So it's really useful to write this detail, these details down. If you have a tube, I just get a black marker. Pen and write a big S would be on this one because this is, this is Persian glove and it sustainer. So now that seems a pick up. Running the risk of staining my paper that is a really deep intense blue that's great for mid night sky. So as long as you know what you're dealing with, then that's fine. You can make educated decisions, but yeah, little tip. Get yourself a Sharpie and write on your tubes the properties of each paints with doing this, this chart is a Winsor Newton and this is a daily wrongly. You can still get them. But the information is online and it should be for any brands of paint that you're using. 13. Lets Get Drawing!: Okay. So although I don't tend to draw my Just like to sort of leave Penn really. I've been doing this for a long time. So I finally TOM batter if I have no constraints. But you obviously might need a little bit more guidance here. So we need to plot sort of our extremities of this flower at least. And that'll help us get that positioning in. I actually, I can't get this flower into exactly the same position that your photograph is, has been for obvious reasons. I've got to put away from my painting area. So you're not quite seeing what you are looking at and water photographed, although I could possibly take some more photographs of goals. Okay, so I want to get the ellipse in this some flower in this, this is our center is a useful starting point. Well, so good helps us with scale. And just noting actually that the, this distance is probably the same as the distance to the bottom petals. So I know that the bottom petals are going to be around. And the top ones because I'm looking slightly down on this sunflower, slightly shorter. And these worms at the front, again, similar, similar distances, just one that sticks out. And then the this cascading down this way. And that's probably about as much as I would do if I am perfectly honest with you. I'm trying to be. And then we have these lovely patterns coming over, but we need to put in this dark area, but it might just help you. You just indicate where these petals are coming across and the foreshortened as they're coming towards you. So again, look for this shape that's going on. You're looking for the actual, the dark shape that's behind this battle to give you an indicator as to what you are going to be drawing a sigh. I really, I'm not a botanical painter and I don't profess to be. Lots of people have a better botanical painting. And may I just like to get the essence? That's why my goal in life. It's all about suggestion and letting the viewer take on board a little bit of responsibility. Actually, what I saying. 14. Mixing Time!: Right, so I felt kind of squeeze out some Indian Yellow. Be generous if he can and if he can use tubes, I find them a lot easier. You said a lot of hard work, trying to mix up a lot of stiff paint that you want to use. This burnt sienna and some ultramarine. They are, the colors have just been left in my palette, but there is some REO lane which might be useful. And think this is new gumbo which we used earlier. This Manganese Blue and Rose mantle that say they've Chris being left to my palette rarely and I've just rehydrated them with my spray. So there's a nice tip for you there. You don't have to scrub them out at the end of every day. Just fill them. If they've been in your palette for a long time, you can just fill them with boiling hot water, let them sit for a little while and then tip them off. Um, and you can use a painless underneath or if it's just a day before or a few hours, I just use a water spray just to rehydrate them. We'll get them nice and moist again. So right, these are the brushes I'm going to use. I'm going to use my number 12 round. I'm not going to use that to at the moment. That's the brush that were used to create texture. And going to use a flat. It's probably mixed my color. And also introduce you to a new brush by oh, I think I got it from Jackson's. So I'm guessing actually it's their maker didn't realise that. It's a silver black velvet oval. A cold sky wash brushes. I do have another one. And then their natural hair generally, although I think this one might be mixed. And they're designed to hold a lot of water, but come to a tip. So a bit like a wash brush. So I'll be going between this as a one-inch. This is a size 12 and this is a one inches. Well, so be flitting between our tried to keep up to speed and tell you what I am doing. It sometimes can be a little bit difficult. So the first thing to do actually is to mix up some puddles of color. So, oops, that was modality. Brush, tip number one, clean your brush. Always have a piece of kitchen roll handy. And then you do that again. It's a different style in the code. Look here, it's the consistency, creme, stiff cream. And then I'm just going to squeeze a little bit more pigment out in there. So if I need to dip in, its already there. So hey, you're setting out your store really getting everything ready for 15 minutes may be joyous painting. Here, the color that I might like to just have pre-mixed or a mix of ultramarine with my RA remember. And I didn't actually squeeze any held for that. So let's just get some fresh on top of that. So this is met or make a nice dark under slightly more of the rural room, bring it'll make a warm dark, which is probably what we need. Again, that's little bit thicker than cream. That's a nice make such little bit. Louie. Put little bit more of the brown in. Ok. So now we can get started. If we were going to use any other column mixes in there, we can do that. We're going to do the greens afterwards. But you could do the prep for that beforehand. 15. Lets Paint Part 1 : Okay, so much she gonna start spice spraying my paper. It makes me be less precious about what I'm doing because I can't control what I am doing it quite as easily and that makes me a little bit more fluid. So dipping my sky wash brush here in know literally just watching and looking. But those shapes that I can see. Not too bothered about accuracy. Say it's more about the feel of the whole thing that's petal there, actually dropping away a little bit. Here. I'm actually going to use a little bit to that REO Lynn in their petals going down towards the bottom. So using the flick of your brush, your hand going more for stylistic interpretation, I think they call it, say by using the tip and pressing down, you get some lovely brush strokes is a little bit for short and we can see we have these coming forward, so giving up a little bit of artistic interpretation there. So that's the first layer. 16. Lets Paint Part 2: So now I want to add a little bit of shadow, a two there. And I'm going to use a little bit of the burnt sienna. Again. Should have done this before. Actually. Just goes to show you that I'm not perfect. Just like we're, none of us are getting you mix a bit to stop to waste that painter might just make a tone, warmish tone there as well. So all you have to be careful. Obviously, this doesn't dry too quickly, so it's an immediate response that you're after. But if you using thicker paint, you should have a little bit of control. Here. You can see actually there it's dried on me already. And this is because of the lights that I'm using. So I'll just follow that up with a damn rush. And then to go into some of the was wet areas actually. And then you'll see what I'm I'm bout. I feel like I need more of that sort of color. So the burnt sienna with the Indian yellow in there. And this spray. If you start become too tight, if in doubt, spray. Looking for leaf shapes, shadows, little bits of dark going on down here as you go down to the, even a little bit more. And you go in dark straight away. None of this working light to dark malarkey anymore in the world of watercolors, very old fashioned way of working. I spent years working that way. Don't do that anymore. Okay, so it's more about the essence of these flowers. The flowers themselves. You want to picture over here at some flowers, say splinter yourself a lovely photo of it printed up onto a canvas. Though, just looking at the shapes as they come in to the right again, it's a little bit too dry so you can watch it. Or we could spray again at this stage. Saved now we could actually do a little bit of what I call refinement. So amusing. Quite decent quality to kitchen roll here actually. Because it's got at absorbing, amusing a dump brush. So I can pull out some light. Remember to wipe off. Rinse your brush, come back. You can do another left lifting up his boss battle here. You do the sum wet, damp, or even dry. And you better different effect. Painting this way you don't have to build up your layers like you used to. People used to traditionally just pull it out. You can even put little bits of detail in looking at the movie shapes of these petals at the end. And I can pull that lovely bit out. Pull that looking back, bet out. And I can go back in and just work a little bit of detail on those tips. So at this stage I'm refining. Lifting out. You see I can lift out quite a lot to paint with your flat as well. And it's going to add a little bit too dark. And so these areas include key, nothing too dark. And keep it. Sunny. Spot she going to paint in the leaves. So I'm just going to do it in yellow and then drop a little bit of the blues in there. So good sites, but every trip, such lovely shapes. Let's take a little bit of blue. Now. Let that mix on the paper. Another woman behind it. These are all in the right place. But they'll do it legally leaf. Coming over like that. But just dropped a little bit more glue in there. And then the stem can be nice and loose and we could even sprites. You could throw some soul such that this stage as well, depending on what sort of style you're going for. And then we just need to get some dark in the center. And pretty much done really. 17. Lets Paint Part 3 : So you can do this in two ways, really, you just have to be aware of whether it's wet, dry, or damp and work accordingly. So I know that this is damp. And that's the stage that I wanted to act. If you want to work connect 10x, what you're always gonna get a looser effect. And if you work on it was completely dry, you're going to get quite a tight effect, which actually isn't what I'm after. So I'm gonna go straight in and go for that dark. It's coming from here. And I'm going to add a listener to my darks because I wanted to add a little detail on that edge. And then water again. Drop to think I quite got that rounded shape. And it's just going to try again fully towns for little. And he, we can decide what we're going to do with that term. Center. Actually might just try. We're seeing in some thicker plate, some of those yellows there. As it's drying, you can drop. It shall give, again, giving you an unusual texture. I'm looking for the shapes that I can see. The petal that kills back and you can see a little bit of the dark behind it. Might just actually put some of the watercolor pencil on the streets. And I am going to spray type for me. And as you can see, it's all running downhill a bit because I got a paper at an angle. You can do some interesting things as by tilting it back. You can work with these watercolor pencils in this, if you like, you know, we can put into kilobits a detail where you can go back to your brush. So where's this stamp? And going back in, looking in details, is probably a little bit too strong temper. Shh. 18. Lets Paint Part 4: Lift this overnight. And I rubbed off. Be careful because the watercolor pass crayon that we sanded on. This will come off a little on the script that little bit off there. So it's time for adjustments. It's always good to leave something overnight or for short length of time so that you come back fresh with new eyes and you make a better assessment of what to do. In the next stage. That's how I tend to work. How I often would maybe work on two or three at the same time and then leave, leave them. So that by doing that, it stops you from overworking and from fiddling. Cuz you often continue because you're actually just enjoying the process of painting, not because you think it needs more work. I've learned that over the okay, so I'm looking at this. Some of my drawing is terrible. Some paints gonna bit bonkers. So we can tighten some areas up and remove some paint. So with my flat brush, just rinse debts and I'll just get like a big fat paint from the Federal membranes. Again. The first thing I wanted to just put a little bit of paint, but if I can, I'll try and left out. Has if it hasn't, this is where actually you could use your cadmium because it will cover with it being an opaque color. Just lifting that painter, as you can see, it's a case of Washington rinsing quite a lot. I actually want to bring out shape petrol as it comes forward, is quite important in that prattle. These ones which come over here a little bit harder to describe. Actually, I'm just going to leave that as a suggestion. And although I like the way that paying then the scattering of the wars killer dust, what's happening there? I've actually lost the shape of the top of this, some flour and it's not quite adult link, it's quite looking right? So I'm going to go on and was going to lift off. So a lot of people think that you can't just watercolors went once they're down. That's a lie. He can, but you have to follow a few rules. And want one is other suggested early you don't use staining paint and you use a paper which you can lift off easily. So hopes. This, this is actually a sea white paper. It's an English brand from C White in Brighton. Equally, I find that balking fudge papers lift beautifully on LinkedIn. If you have a paper, you're not sure whether you can lift off. Just put in the corner something like ultra Marine. You can see that actually I'm just doing a little double ultramarine. Let it dry and with a dump brush, See if you can lift it off. Some papers about than others. Is the Walkman paid? Papers are great for lifting off. They're great for other reasons. Mike them discreet, so I'm just going to get pictures out blue there at the moment. So I'm sure when you do this, you might be lucky, you might have a really good session and it might all work beautifully. It rarely happens that way for me. If you're quite happy with what you've done. And you couldn't just Steve it. Try not to fiddle actually. But I am much to showing you a few techniques here that people don't generally know about. So this should help you. So if you wanted to pull this paddle out here, we can shift a little bit of light or if you didn't like what was going on here, I quite like it that you could refine that. So you could actually forgot to say you just rehydrate your colors or squeeze out new colors. Going to be a bit cheeky this morning and just going to dip pinks or no, that one actually still write what? But you can go in a bit to try and really define or you can lift out some of that yellow if you don't like it. I am actually going to go in up here and put a little bit more yellow in, lifted that area of light out. See you can address gesture drawing. So this still a moveable feast, trying not to lose the spontaneity and that's what happens if you start fiddling. Which again is another reason why I tried to do a few a time. Just helps. Warmth. Variation to that line. I actually don't like these lines I've done here either. I think my drawing went a bit wrong, actually. Trying to talk to you at the same time as painting doesn't always work. That's a little bit better just by adding that line there. Maybe just softening it again. Ok. So we can leave it at that. We can do a bit more. We could if one area which is bugging me ever so slightly is the center and was a bit disappointed as to how that turned out. So I might just lift a little bit of light or the light would be coming and hitting hitting that. I could stippled or they could be more paint in there. I could lift to off I wanted to say this is why I haven't used this staining watercolor pencil and his slain and paints. So it comes off to a degree. Just going to put in a little bit of detail on that. Probably that's that's going to be in a little bit more into that one that we lift it out. And I'm afraid I have lost this battle completely. It's one that's coming forward. So my drawing is not quite right. We can, I think. And you could leave it that sum, if you wanted to put in a blue background. I'll show you how to do it. Not necessary. And he could be a little bit more experimental with the background as well. 19. Background Time: So I'm just mixed up just some ultramarine. I haven't added anything to it. I just want that nice sort of vibrancy. And I hope, I'm hoping you can see there the consistency. Consistency of single cream really, I guess, and make, make sure you have enough. And that I'm afraid only comes by practice. I'm going to use my sky wash brush. If you don't have one, I've you might have something like this, a nice big sable that holds a lot of water. If not, you might just have your round. And that coupled with a mop head brush, just grew up one something like that or a hake. Just scatter different wall, which is something like that. These are quite cheap, cheerful brushes that you can do the same with there. So using this brush for drawing in around your edges and refining edges and you're using your mop head too wet and to put on the wash. The beauty of this brush is those two brushes in warm Really? Okay. So you could do it on dry paper or you can do it on wet. I'm just going to go between the two actually and make it more of an experimental background. So my brushes wet but not dripping. Going to pick up my fairly concentrated paint there. And I'm basically just going to do some negative painting. So when we were, earlier in this video, we talked about negative space. So that's what I'm going to be looking for. And you can even add some petals actually that you haven't put in yet. Just be careful of your edges. Take your wash right to the sides there. And I'm just basically filling in your shapes. This bits actually still a bit wet. I've already push that. And then I'm just going to add a little bit more water to these bottom sections. So it's slightly paler. If you want to put, there's a lot of detail down at the bottom of this. If you look at the photograph, there's a lots of detail of lots of battles. It's up to you. How should that you, you, you put in. I'm going to suggest some of these. And we can either leave them white. Oh, we can fill them in after. Another little suggestion of a petal. Look quite simple with this brush, actually, nice brush to get on your Christmas list. I, so I finished the wash all the way down to the bottom through some salt over the painting and you see what happens there. And what I have done is I've just added a little bit of greenery up here as a suggestion that there's another flower behind it. And you can work on that and pull it out. Or you can even get rid of it if you don't like it, don't like it. I'm not so sure now myself. But you could do another layer. I've also with my flat brush, which is clean, clean and damn. I've lifted out, just swipe through just a little bit of movement as something else behind this flower. Or you could just leave it completely flat and you can practice your skills of laying a flat. Walsh. I quite like that. Bit more excitement. And cease to a painting when it's got a little bit more movement to it, especially when it's not a botanical painting. So thank you for watching. 20. Let's Review: So just doing some close-up shots. This to give you a better idea of what's happening with my Aj's. You see it's still wet and the salt still doing its thing that you can see there. It's working beautifully. And even there, we're actually all fell out and one big clump. But it might produce some interesting effects. I'll go and I'll re, do this when this is dry. So just thought I'd show you some of the lovely patterns that the salt has made. And just some, again, some of the edges, no shaggy those before. But the salt on this occasion has been particularly successful, especially in that area here. I almost wish that I had done a similar process over the yellow. But you know, that's the next one. So here's the big reveal system. Really lovely thing to do is to take that masking tape off. And now we have it. Sunshine on a steak, beautiful sunflower. Please go away and enjoy it more than anything. 21. Thank You & Goodbye!: So I hope you enjoyed that as much as I did. A lovely joyous subject, actually pouring rain here today after a lovely sunny day yesterday. So hopefully looking at something as silly as this sort of flour to sunshine on the stake, Isn't. It can't fail to make you happy just having a go. I would suggest for those of you who class yourself as an improving or even advance, that you may be working on two or three paintings at the same time. This will give you a fluidity. It'll stop you from overworking. And it will stop you also from fiddling. As I said earlier in this video, we often keep on painting because we're enjoying the process, not because we think that the painting isn't finished. So bear that in mind. Satya stall out. All those things are really important for you to get a spontaneous painting. Some of the little bit of excitement and something that's moving away from botanical art and a little bit more towards expressionism. So enjoy those sunflowers, just like Van Gough did.