Loose And Textured Florals | Jean Lurssen | Skillshare

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Loose And Textured Florals

teacher avatar Jean Lurssen, Jean Lurssen Watercolors

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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

9 Lessons (1h 14m)
    • 1. Loose And Textured Florals - Introduction

      1:47
    • 2. California Poppies - Painting Wet-In-Wet

      10:28
    • 3. California Poppies - Adding The Finishing Touches

      13:53
    • 4. Orange Daisies - Planning Your Composition

      2:50
    • 5. Orange Daisies - The Background Wash

      7:07
    • 6. Orange Daisies - The Finishing Touches

      4:58
    • 7. Dandelion Seed Heads - Materials

      10:29
    • 8. Dandelion Seed Heads - Painting Wet-In-Wet

      10:58
    • 9. Dandelion Seed Heads - Adding The Finishing Touches

      11:25
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About This Class

This course is about easy-to-create loose and textured florals. You can let your creative fantasies take over and play with color, shapes and textures with the techniques you will learn. I’ve included two mixed media tutorials and one pure watercolor painting.

The course includes:

  • Painting wet-in-wet
  • Using different materials to create textures in your watercolor
  • How to use acrylic inks for special effects
  • Combining watercolor and mixed media

Be sure to also post your painting in the gallery to share with other students in order to get feedback. I love to see what students achieve and will help with any issues you may experience.

Meet Your Teacher

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Jean Lurssen

Jean Lurssen Watercolors

Teacher

Welcome to my Skillshare channel. I hope this is where you will find inspiration to explore your inner creativity to create unique watercolor paintings.

I like to paint atmospheric watercolors and continually try to stretch the boundaries of watercolor, sometimes using other media to create interesting textures in my watercolors. I look forward to sharing my techniques with you here on Skillshare.

For more tutorials, tips and techniques visit me at:

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Transcripts

1. Loose And Textured Florals - Introduction: Hi, I'm Jeanne. Listen, and I've been painting in watercolors for more than 25 years Now. If you've done any of my previous courses, you'll know that I like to stretch the boundaries of water colors and create lots of textures in my paintings. This course is about easy to create loose and textured florals. Florals are a favorite thing to paint. You can let your creative fantasies take over and play with color shapes and textures in the techniques that you'll learn. I've included two mixed media paintings and one purely watercolor painting. We're going to start off with painting a semi abstract waiting wit interpretation off the California poppy. I really like the way the two Koreas and the yellow came together here. We're going to use just three colors and some acrylic ink to create the interesting textures. Next, we're going to create what was my favorite to paint these lovely orange daisies in this loose and semi abstract star using mixed media and water colors. And finally, we're going to do this interpretation off dandelion seed heads. You know, when the yellow dandelion flower dies off, it creates us thes little puffball seed heads and I'm going to show you a technique where you can paint thes seed heads in water colors. The idea behind all of my courses is to encourage you to use your imagination and create paintings that leave something for the eye to interpret. You can have a lot of fun with us, So why don't you come and join me and let's start painting? 2. California Poppies - Painting Wet-In-Wet: Now for this first painting, we're gonna do a very loose waiting with semi abstract floral. I was inspired by the California poppy, which is the national flower of California, and I've never painted this even though I live here in California. I'm looking forward to using these lovely rich yellows and oranges and just is going to be a semi abstract waiting wit representation off these flowers. And if you'll notice the puppies have four petals only, which is quite interesting because a lot of other flowers have five and Mawr but anywhere. This is my inspiration for this piece. So I'm gonna put this away. I'm working on a piece of heart priest paper. This will work equally well in cold pressed paper. The colors that I'm using for this are Daniel Smith, Cadmium Yellow Windsor and Newton Indian Yellow. I'm going to use Daniel Smith's ultramarine turquoise and thay low two boys. One. The ultra Marine is a bit lighter than the they loath, so it'll be nice to have a mixture off the to. We're going to use De Laurentiis acrylic ink from bird amber and some granule ation medium by Windsor and Newton, because I said, This is going to be a really semi abstract. I don't want to draw in anything. But if you if it helps you to no, for your composition to know where the flowers are going to be, you can pencil them in first. I'm not going to do that. I'm just going to paint. I always do. Before I paint larger painting. I always do a little test piece for the colors and stuff. This ended up being a little muddy, but I just love the Indian yellow, Uh, and the, um that the turquoise is together. This was another muddied piece that I was just messing around with. But I like the abstract look of this and we get That's what I'm going to do. So this is gonna help you loosen up. Now I'm propping my board up at about a 45 degree angle, and I'm gonna put it like this because I want a lot of movement in this painting. So I want everything on the diagonal and I'm going to spritz with my spritz bottle that leaves droplets on the paper just down the center, part of the take a right now. And I'm going to start off with my and cadmium yellow medium and due to debris, milky consistency. And I want to just put in the first flower. It anchors the painting. I might even put in my second flower sort of here, and I think what I'll do is just do a that was it. But to Ortrie, just do it at do the sort of side view of the poppy there. And, um, maybe I'll do a another poppy here, smaller one there and I wouldn't want to do right now before everything draws is come down with the two Koreas actually also want to soften the art surge off couple of the pit ALS because I don't want too many hard edges here. You don't want to touch to many of the petals. At this point, I'm going to put in some of the dark. A failure to Corey's just says we have some light and dark turquoise, which creates interest. Looks like leaves. Maybe I just want to soften things around before the paint dries on, going to suffering all of the edges before we had heart end up with hard edges can always add some more to core is here. This is too dark. I want to lighten it. I'm going to And just I had some water and dab it with my paper Tell I'm gonna do another a side view off the poppy day on. Let's drop in some, um, quite wit Indian yellow Andi have to really try to work fairly quickly and and want this to drive. I like what's happened here where it's sort of going into the flour little, and I'm gonna leave that because I like that effect. But when it's dry might add one in the center here. So I'm going to just, uh, blocked out. It's size of ah, Poppy. Now I'm going to We're going to add the acrylic ink before this starts to dry up, and I want this to run down. And you you gotta be very careful here not to add too much ink because it spreads out when it hits the water, the water color. It's not compatible, and it's flares are in disperses. And really, when I want to do is just create some granule ation and you got to be careful with the granule ation medium that, um, you don't want to leave harsh lines. Get rid of the bubbles by just tapping them. Keep wiping the offside off you'll painting. Otherwise you're gonna get run backs and blooms. Now it's totally run into the, um, flower this. I'm just going Teoh, let this travel down the page and keep keep the outside dry. And I'm going to lot this back a little when this is dry weaken. Um, redefined this. Those puppies, um, I need some more off the Indian yellow just to so you don't have to worry that the granule Asian meeting when the turquoise ran into your florals. Um, you could always fix it. They say you can't fix watercolors, but it's not true. You can. And I'm trying to keep everything soft edge. So tonight, add some Indian yellow eye cancer. Teoh, soften it with the damp brush. I like the fact that this is running to the turquoise here, and I think I want the same thing to happen here and just keep softening it with your semi with brush. Okay. Said we were gonna do a a flower here as well, and I'm going to actually do that now. While everything is wit, so There will be a little bit of running into the month of the foliage as well, and that's OK. I wanted ought to be loose. And that's the anywhere we can keep it loose is just by working, waiting wit. And I think I want to add I think I want to add just a teeny little dot of on a yeller flower there. And, um, I feel like it needs a couple of little ones. 0/2 ones. Just just a sort of suggestion off, Poppy. I like that. We're just going to let this dry and then we're going to put the flower centers and see what else it needs it. We'll need some stems just a little bit to finish off this, um, semi abstract poppy painting. 3. California Poppies - Adding The Finishing Touches: So now that the paintings dry, I can take a look at it. And I'm very happy with how they how these flowers turned out. I love the fact that there's a little bit of dribble off granule ation medium through this flower. It just keeps everything loose. And I like that very much and that I am, uh I don't think I'm even going to add any more Indian yellow, too to most of these, except maybe this one here. I just want to define hearts of the pittle a little more. And and some of the disc sort of disappeared into lost edges, which is, um, which is what I want and just, um, everything you do now you should, um, keeps keeps soft ages. I love this whole soft edge thing here, and I'm just going to at a teeny bit of Indian yellow into their I don't want to touch this part. Infected probably even added a little too much. It's running down into the, uh into the into the foliage. And I don't want that, And I'm just going to and a little bit into these small dots of flower flowers that I that just represent poppies, that it's just it just adds it needed that everything was sent. All the flowers were sent it up here and there was nothing here. And I just wanted a little bit of yellow down here to pick up on the composition. Now, um, we're going to add the centers, and for that I'm going to take my rigger brush. It's must number one rigger brush, and I'm going to use a color, which I didn't mention earlier, because I actually only decided later that I was gonna use this for the centers. If you look at the picture off the California poppy that the city stamens in the center are basically the same color as theme flower itself, some of them are in light yellow, some of the in in this orangey color, and I was trying to think of a loose way of representing that. I don't want to draw them realistically, so I'm basically going to take this color called its Windsor and Newton color called light Rid. You could use a water down burnt sienna. If you don't have light, rid, especially go out and buy a little work to have to use a burnt sienna but buoyancy and is a little darker. And I don't didn't want to, um, do anything to dark. Now just wait an area that's likely larger than the stamens. And I'm going to go into a creamy consistency of this light rid. And I'm just going to don't it, um, around? Because I wanted to run slightly. It gets these sort of spidery tentacles that go out, which is which will represent the stamens off the poppy. Going to go do same thing here and due to a little bit more abstract here, maybe, and not to have noticed dark on It's do this. Here's well, and I like the way you like the way it's run there. I had a little too much water, but that's OK. I I loved and look at the spidery tentacles that it created here we can emphasize thumb. Um, that works really well. Love what's happening there. Um, I'm a do you a little Indian yellow here to define some of the people that the petals off this hoppy And here also, you always want to get with your semi weight brush and just keep it soft. You don't want hard edges. I really don't want to do anything more. I'm not sure even want to do sentence. Or maybe we'll just do some very tiny centers there. And I think what I also want to do is, um, just get in with some stems. In fact, I think what I'm gonna do is take a chance with my dagger brush, number one dagger brush and no see, I don't like that at all. So this guy, spritz it, soften it out. I want that to be soft, sir, with the paper poppies have these very thin stems and leaves. And I want that to be soft or service. I'm gonna spritz it and we can do the, uh this one's running down a little. We could do the a little base of the flower there, Andi. This one would have a slightly thicker stim. Now you could be. You have to be very careful here that you don't ever do it. I want to keep this soft. So waiting them. I love what's happening. What happened that engages to suffer in this a little bit more here. Sometimes you have to do and get over it a second time. But I try not to, because that's when you fiddle too much and ruin your piece. Just one. Now, if you want to and maybe I'll try it because we can always wipe it off. If it doesn't work, you could go into some very creamy Thea cadmium yellow and just do a couple of little stems statements in between the black rid Because, um, they did have they do have these very gated stamens, and that's it actually worked out quite nicely, actually. What? Like that? Um, you could do the same here, but just do Very likely this one needs a little more definition on. Maybe just dab the and you could do Cem stems coming down here should actually do with the brush the dagger brushes. Beautiful, because you don't have a lot of control and and you get some some bitter loose. You get better loose, you have less control with the dagger brush, and it's I don't know, just like the effects that happened when when you don't have that control. And I think I'm gonna spritz these to keep them solved, you could get appear, and I didn't before I start messing with it, too. much. I'm going to let that go. Just spritz that a little bit to soften it. I want everything to stay soft, so it's take off the tape. You always want to pull away from the paper. You continue the paper on A I don't know how many times I've done that before. Now let's see what it looks like with Matt. It's not dry it, but I am. I'm kind of very happy with that. A love what it just. It's a lovely combination off yellows and two cores and the granule ation medium. It's got a lot of movement get it goes this way and one of the flowers and the flower. That flower goes that way, and it just I don't know. I'm very happy with this. I'm going to do some more poppies when I've got the time, because I like what happened here and I am see back and just I'm just very happy with it. And I just wanted to, While I'm looking at it, I'm seeing that one needs needed a little, a little bit of definition, and I just wanted to to do that and I like this very much. I'm very very happy with it. And now it's your turn to give it a try, and then we're going to the next painting. 4. Orange Daisies - Planning Your Composition: Now let's do something interesting with mixed media that this was an experiment. I did, and I experiment all the time, and I decided in my drawer I've had for years a set off oil pastels, and I know I used them years ago because they no longer have the casings on them, and, um, obviously didn't use them very successfully. But I thought I'd start experimenting again, and what I did was for the flowers are used. The's oil pastels now oil pastels, totally unlike the regular pastels, which you can wipe off the paper. This is this is basically guess has oil in it, because once you put it down on the paper, it's there forever. So I thought it would be an interesting experiment. So for the flowers are used, the orange, these air, the I know that the pastels that are bought whereby Faber Castell but all oil pastel should work, so I don't feel like you have to go out and buy these. This is the orange, and I'm going to use the emerald green. I think that's what they're This color is. It's hard to see here, but it looks it's beautiful because it looks almost metallic and basically didn't press too hard. I just touched the paper with it. So it's left a lot of texture. We're going to use the white to get some white of the paper showing through always lack part white of the paper and will use the black just for the centers for the background were using watercolors in digger and quinacrine and gold. And I'm also going to use some very pale, cool yellow wash for this painting. Now I'm going to do this on hot pressed paper, but it will also work and probably maybe even work well on cold press paper. But hot pressed paper, as you know, is one of my favorites. I did an experiment on cold press paper. This is Saunders Waterford £140 culprits paper. And in actual fact, it does do some interesting textures where the oil pastels skip the indentations in the paper. So you get a totally different textural effect. So, you know, if you prefer to work on culprits paper, it'll work. Justus Well, on that, we're going to paint this now and I'm going to. This is a very small five by seven card I'm going to do it on a slightly larger piece of paper and I'm going to show you how I did it. 5. Orange Daisies - The Background Wash: what I would suggest if you, uh, a few more comfortable is to just pencil in where you're going to do each flower and just do zigzags basically. And so we'll do the biggest. Remember, all your flowers must be a different size to make your painting interesting. So the biggest flower will be up there and we'll have another one sort of done here, and we'll have some zigzag stems coming down from that. We'll start off by doing the flowers to do the flowers. I used the end of the pet of the pastel, the oil pastel, and don't try to draw a perfect flower. Just go from your center. So basically what we're doing attempting to do is some daisies. I'm quite happy with that. Once, I, uh, encourage you not to try and do a perfect flower, and that's going to give you a more interesting abstract watercolor. Just do up and down movements. So that's two. They're They're just different sizes, and we want this one to be a different size. Also, just do it really doesn't matter how badly you do the, um, flower. You'll see when we put the water color over it. it's going to be perfect. Now I'm going to take the emerald green and just do six egg some six egg lines with this sort of tip, this edge of the of the thing. I want to get some different thicknesses. Maybe get some leaves. Um, don't do anything perfect. You want you want to um just, you know, some designs. Basically, uh, there. Now I think maybe here now we want to use the white also, and to have some white of the paper showing through just to get some light area on the paper. And also, I always like to have a little bit of white in my paintings. That seems to sort of just make all the colors pup you can use the the head of. It doesn't matter what decide you use. Now, I just forgot to tell you that I'm using hot pressed paper you can use cold Chris paper to I'm working within watercolors with indigo quinacrine and gold and some very light yellowed wash the kook. Cool yellow, but we're going to go with the indigo first you want to cover the flowers because that will really show up beautifully. And we're going to okay, Going to the gold action. Start bringing that down here. But I also want to have the flower head in blue and where the gold meets the Indigo Creator . Greeny color. So I like the dark here and the lighter color up there. So I'm going to bring some of the yellow Doan here, maybe get a little bit of light colored going here, pull it back a bit and while it's still wit, um there wait a minute. Think a little more quinacrine in gold in here. Just like some variation. And I'm actually just going to spray this better water in here. In fact, I'm gonna do to my hand, get some. So you get the little spatters there and down here and here. And I think what I'm a do is I'm trying to decide whether to use the glass or not. I didn't use it in the other paintings. Um, but I've been thinking about how I can improve on this. I think I'm just going to take a little bit of wash on this grounded palette knife and just flick it into the Oh, yeah, like that. I'm experimenting while I'm teaching. Maybe that's not such a good idea. If I had done yellow watercolor, it would just blend and fade. The wash flares aren't when it meets the water color and you get a really interesting texture. Put a little bit down here. I don't want too much are found. By using this rounded palette knife, I get different size spatters. Where's the pointed one? Gives me very fine spatters. Just wanted a little bit of I want to spend a little bit of blue into the top here, but that I don't want to spoil it. Um, texture there too much. So how about that? So basically, we have to wait for this to dry now and see if it needs anything else. I'm gonna put in the centers with the just for the black past ill, but let's let it dry and see if it needs anything else. 6. Orange Daisies - The Finishing Touches: So now that it's Dr I'm just going to take the black coral press still and just direct centers for the flowers. I know that Daisy's usually have a yellow center, but I'm doing black because we doing abstract and not even gonna do it really dark. I'm just going to do it rough now. I love the way that the past still skipped the paper a little bit there. And we've got the blue going into the orange or really like that. The green this time came out a darker green, which is interesting. Now I'm having a look at this. I think I like a little bit more white in here. So I think what I'm gonna do is take my dagga brush and some white wash. And let's try now the beauty of trying white wash before you try a white ink. I was thinking of putting white ink, but which I did in the other painting. But if you if it doesn't work, Artan, if you've put it where you don't want it, you can take wash off. So, uh, there's a couple of white areas here which I feel have broken lines, and I'd also like the some of the white to be a little brighter. So I'm going to do a couple of six egg lines here and there. Don't want to do too much, especially up the same two here. I think we need some white and I like the dagger brush because you get fine lines and thick lines with it. See, it's just No, I want to extend this. Some of these pastel whites didn't look like they just looked like broken lines. That makes just extending them a little. I like that. I think I don't like this down here. So all I have to do is take it off. And that's the beauty off. Using gua sh I didn't like the thick line there, so just going to do a thin a line there we are. Now. You can overdo it, so I want to be careful, and the wash sometimes dries a lot lighter, and the color underneath shows through. So sometimes you have to get over it more than once. I don't know if I effect feel lack of got too much white there. Now I can also once it's dry, take a look at it and take it off. But actually, I think I think that's gonna work. I think I think that's what it needed. I just want to thin this one a little bit. I think what I'm gonna do, see, missed that one up, too. So all you have to do is wet it and wipe it off. If you want to go and go in with a sinner line, maybe maybe I'll just take my script. Russian do something, lines, every house. Now that it's dry, let's put the mat over it and that always just finishes or for painting. And that's how you do a mixed media with oil, pastels and watercolors. 7. Dandelion Seed Heads - Materials : So for this painting, we're going to do a sort of semi abstract version off the danda line where they call them Den. In England, they call them dandelion clocks. I call them Dan line seed heads, you know, in the dandelion flower, the yellow it's a yellow flower. When it dies off, it gets thes puffy seed heads. And I'm always fascinated by them in this, a lot of people who do them in different ways. And I originally did this painting off the deadlines he had hid and I was thinking off, including how to do this. But it is more complicated and more difficult to do for beginners and including for myself , because my style has sort of evolved into abstracts in the abstract watercolors. I actually wanted to come up with a more abstract way or and an easier way to show you how to do these. Dan line here seed heads. And this one is kind of difficult to do because you have to mask out the white seed heads and, um, if you don't do it right, it just doesn't work. I've actually when I did this painting, I must have repeated it a least five times before I got it right. So I'm come up with a much easier way to do this and a little, most semi abstract and that I think you'll enjoy this way of doing it. Now. I did again, as I do with a lot of my paintings. I did several of them before I was happy with them, and I did this one first, and I did. This was actually for a purpose. There's a Facebook watercolor group called World of Water Colors, and it's run by Doodle Wash, which is and by Charlie, Oh, Shields and Charlie. Oh, Shields. If you've seen his page every July, he has this promotion pouches printed with with artists, watercolors and all. The proceeds go to the Dreaming Zebra Foundation, which supports art materials for underprivileged Children, and it's a really where they cause, and he does a great job of this. So he asked me to take part again. This is the third year I've been I've taken part in this, and I realized after doing the 1st 2 years that by the time the painting gets printed on the pouch and the pouch is not pure white background, that what he really needed was bright colors. Now don't normally paint in really bright colors. So I did bright colors for this, and it really worked out. So this is how that painting looks on the post that's gonna be sold in July for the Doodle Wash charity, and you can see why. I realize they have to have bright colors because the person material itself is like a pale grey, so it does dull down the colors. I love the way Charlie cropped it. My painting was wider than the purses, and he had to do a crop. And I like the way he's done the crop, and I just like the way it looks on the puce is it's actually the best one that I've done in the three years that I've been during this. I just wanted to give you some history behind. Why did this painting in the first place? So we're going to paint this, and I'm going to do it in these colors. But you can do it in whatever color you want, and I just want to go over the materials a little bit because the materials are very important and we're going to do it all waiting with so one has to work fairly quickly. So I'm going to use thes air, Windsor and Newton colors. Now I've got raw sienna, burnt sienna and indigo, and the very important components the white that I abused here is a product called Dr Ph Martin's Bleed Proof White, and it is a watercolor. I at first thought used to think it was a good wash because it's very, very thick. It's a very, very thick paint, and it's it's thicker than a creamy consistency. And what I love about it is I don't any longer have to use whitewash when I want to save whites or do whites after I've used color, because this is as good as using whitewash and it's a watercolor. So we're going to use that for this, and I made three tools to actually create these flowers. Are did not paint them with a paintbrush. I painted them with straws that I cut in different lengths, and I've cut that. You can see I've cut these very thinly. They don't have to each be exactly the same worth either. That is how we are going to create the son of God. Three as a set of good three different sizes so that we don't have. That's in that not all the flowers or uniforms SARS. That's important. You can do as many as you like you can do. Five. I've got this one, which is just under an inch. These are probably slightly under half an inch that these two are very similar in size. But I've cut these a little bit thinner than these, and if you press hard enough, you can get different shapes and sizes. So this was really fun to do. We're going to paint this, um, using these three colors, plus the doctor Ph Martin's Bleed proof, right, these three straws or you you could make more if you want. And then I'm using my number 12 a round brush. And this is Ah, silver Black Velvet, which holds a lot of paint, and I just love using it. It's really good brush, which been used any round brush. Use a 12 or larger don't go smaller than that, so I'm just going to show you very quickly how I cut the straws. So what you can do is take a a markup in. And Mark, I would say about an inch and just, um, the reason to market with the market Penis that when you cut the a straw, you know where to stop Andi, That'll the The cuts will be the same length. So I'm I've got this really nifty tool since I do a lot of Sehring. I bought this on Amazon. It's actually used for cutting thread when you saying on the machine. But I found that this really works well for this. But you can also use nail scissors if you prefer. So basically, when a cut start by cutting up to the, um, to that mark, then they would turn exactly on the opposite side. This is going to be the best way to get even size pieces. Uh, no, no, I'm going to cut this, this tube said. There's two pieces there, and I'm going to start in the very center off the first piece and cut that go around and cut the other one in the very center. It's actually quite tricky to do this, but you need to practice and then again in each, um, length, just cut them in half again until you get very thin trends, and they don't all have to be exactly the same size. Actually, the if they aren't it actually creates more interesting texture. Now you can put your little finger down there and just flatten it and then flatten it on your board. Teoh. See if you need to cut it Food than that, Like this one is quite wide. So I'm going to cut it again, and I don't have to cut it'll the ways, because again you could have the ends being thin and it's a little thicker towards the center. Um, I'm a cut this one again. It's quite tricky when they thin. No, that's about right. So that's how you cut this. And then you can cut three different sizes. This is about an inch. You could do 1/2 an inch. You could do 1/4 of an inch, and or you could do five. Um, how ever many you want. The paper that I'm going to use is a cold press paper. Now, if you've done any of my other courses, you will know that I usually ah spent on hot pressed paper, which I prefer. But for this particular tab, of painting. I like the texture off the culprits paper and I have got £140 Saunders Waterford called Press Paper. If I ever use culprits paper, I use Saunders Waterford. That's the only one that works for my wet in wet style of painting. Anything else that I use, I found that the paint soaks into the paper too much because I have I use a lot of water, so let me show you how to paint this. 8. Dandelion Seed Heads - Painting Wet-In-Wet: So I've got my paper on tape down to this boards because we're going to use a lot of water , and I don't want the paper to buckle. So, um, I'm going to start off with my spray bottle that leaves droplets on the paper. We want to get as much textures you want. Oh, yes. And and I forgot in the materials. Um, we're using kosher salt. You can use regular salt if you want. You don't wish assault has, um, has interesting if you've never seen it, it has interesting shapes, and they're all different shapes. So, um, you could get some interesting textures. It's quite a hot day here. And the important thing about this painting is you have to work quite quickly because everything has to stay wit. Now, the important thing about this painting is that we have to work quickly because everything has to stay wit. And it's a pretty hot day here. Now I see my little pages drying artery. Now you don't want pools of water, but you want. If you could see here, you want droplets. I don't know if the camera can catch that, but we haven't got pools of water, Just droplets of water for my pain to have mixed up The indigo raw sienna and burnt sienna thes are mixed up pretty thick, Just a little bit of water. The indigo, because it's such a dark color have put quite a lot of water. And it's more lack mook consistency. I'm going to start off with the indigo. You see how dark it is, even though I have mixed it with a lot of water and I'm going to put this it it at an angle of about 45 degrees. Now we have sprayed at the blues is following the water path where the spray is, which is greatness. Exactly what I wanted to do. And we're gonna add some yellow, um, if I don't want it to go to running to the yellow too much. But I do want to get some other color going on, mixing the yellow in in parts with the with the blue just, you know, getting some variety in the, um painting. And first just going to go around with the yeller. Now, remember, this always dries about 20% lighter. So you really wanted to be darker then you then you think you want to be darker because this because of the fact that it's going to, um, dry lighter, we need a good background for the white off the seed heads. Now, I'm gonna take some burnt sienna and just add that in in areas. Got to be careful not to muddy your paint here by mixing them too much. If you noticed, I'm keeping them sort of separate, and my paint is drying out here already. Now I'm going to take some paper. We gotta be careful. Wipe out tape areas. Otherwise you could have back runs and and have blooms in the painting. Take it off the 40 degree angle, 45 degree angle and maybe just and a little bit more from the blue in the on. Let that mix. Um, I want to get sort of random shapes. You just do it until you feel that it's got a nice background. Remember, this is the background to the painting. Now we're going to work with this wet, and I'm actually gonna spritz that there because it's going to dry. I wanted Teoh soak into the paper a little bit because it's too wet right now. to put the white paint on. But what watch while I'm waiting for that, um, gonna pour a little bit of this into, and if you can see that I'm just pouring into a little go because we're gonna work with that. And I mean, a dip that the biggest seed hid template and put quite a lot of paint on it. Now, when you stamped this into the, um, background, you must wash it off each wash it off each time and what the the straw. So if you want to make more than one straw, that's probably a good idea to I'm going to try it now. And I wanted my big one to be here. See that? Now I see the good blue on here. So I want to wash it off, and I want to get over this again, and I'm going to swirl it a little bit o like that. See, I just turned turned it a little bit. Doesn't matter which direction you turn it in. Now I'm going to take one of the smaller ones, and and, um, I want to do one kind of nearby, and I like doing these on the dark, not dip it in your water cleaning dried off. So when you can do some with a swirl and you can do some to make each one different Um, let's do one here, since I spilled some I like that. Um, Let's see. I think I'll do once. Yeah, which I'll just keep turning. This said look slightly different. I like that. You don't want each one to be perfect either. Um, no. I'm gonna take my other size straw, and let's do one year. I like that. See, I like the fact that it didn't fully give a full circle there. That just gives a nice little abstract look to it. I'm gonna leave that. Let it dry And what I'm watching here. There's a poof that is approved off Indigo here is going to interfere a bloom here. Okay, I'm gonna go back to the other one, and I want to do one. Yeah, and I want when you're swirl it. It was a mix the same. He's done with the same thing. But this one looks bigger because I've swirled it. And, um let's see, I'm going Teoh. Um but, Papa, but I think I want to do one share. I'm gonna leave that. I like that. This ways to fix this don't miss with it. If yours doesn't come out right. You see this one here? The blue is starting to show through. When this is dry, we're going to work on it further. So, um, I think I'm gonna do one. Sure. Now? Ah, it's 123456789 Uneven numbers. Love that. Love the uneven numbers. Um, and I think I'm going to leave that now, uh, the salt we need to get going with. Well, before we do the salt, I'm gonna take a rigger brush and, um, a fairly stuff Reagan Bush put it in the white paint and just juice some stems for these seed hits. And you don't they don't all have to come down to the bottom of the page. Now, we've had some subsea pidge there because the paint was still to wit, and I'm going to leave those, and I'm going to take some tissue and just very gently wipe this and we'll fix that when it's dry. So this is a well, flexible now, um, very important. While it's still wet. We need to do the salt. So I want to do some here. That's that area has almost dried out already. So I'm going to spritz it entrance, not spritz the, um the actual white area. Just gonna put it a little bit of cautious salt. I'm trying not to get it into the white of the, um of the white seed hoods. I don't want to Miss Witham. I'd like to do it in the blue area mostly twos, because breaks that up. So if you can overdo it, so don't overdo it. So at this point, I'm gonna let everything dry. Um, when it's dry, we'll take off the salt. You'll see all of the textures that the salt creates, and, um and then we can work further on on the seed heads. 9. Dandelion Seed Heads - Adding The Finishing Touches : Okay, So the painting is now completely dry and Aiken cease. I really like how this large seed head looks with some of the blue showing through it makes a little more translucent looking. So I'm going to leave that one. And I and I really like this one. It's sort of abstract character to it. So I'm going to leave that one and maybe these three. But I'm going to work on some of these that some of them ni loaf a little work. So, uhm, I'm going to show you what I do now. This one is, um, a little boring looking. So let's start on that one. I'm gonna take my little spritz spray bottle and just give it a couple of about three sprays. Clip that settling. Now, I'm gonna tell you what tools are used for this. I've got these things called to see what they are called stylists, and I'm not even sure what they used for. They you can buy them in craft stores, but I like using this for this particular fix because it's got a little ball on the end of it. So it doesn't tear the paper, and but you know, if you don't have one of these, that's fine. You could use a skewer, wouldn't skew a stick. That's got a point on it. You could use, um, a dipping pin or your palette knife. I think the palate naff woodwork yard works, and I'll try the dipping pin just too. Yes, that the dipping pin just don't press to get the dipping pen nib that's got a little ball on the end. That would work, but I'm gonna continue to use this. So basically, I'm just going toe. But some texture in here so you can see what I'm doing. And I may add a little more white and that you want to do them all the same size see that gives that it's just a little more texture and definition to the seed hit. But I don't want to do too much to that one. I'm gonna take my number one script brush and just add in a little more white, too. Make this, um, stand out a little more and I'm not gonna do it all over, either. I'm just going to maybe do some of the ends. You want the the background color to shine through in some of these, I would say in most of them to see it happen to see how much what a difference that makes. Now, I'm gonna take the same script brush and go into the yellow raw sienna that I'm mixed up. And I'm going to just do a couple of dots like this. Seed heads have in the centre. Seen this a little mixture there of, um, lighten dark, and we're gonna do the same here. Just going to we move this up so you can see what I'm doing. My paints. My paints have dried out from yesterday, but I'm just reweighting them. I'm just gonna do that. And now you want to cover the ones you've already spritzed? This needs something also. So maybe I'll just do scratch a little. A few little not as many in this one. And you wanted to work from the center out, and you don't. I want to do all of them either. Just just because a lot of these seed heads are broken broken up if you haven't spritzed enough, it's good to let the water settle into the into the white watercolor for But before you do this. So I'm going to use the in digger for the sing to their. But I want to be careful not to, because it's with the Indigo has dispersed art, and that's I like that. So I'm not going to do any more there except do a few short ones and I'm going to leave this, but we're going to, um, just do the center again. That's sort of uneven. So I like that it's kind of dispersed into the white. I like that. I like this one. Needs a little work in the center in that one. So let's see, just do you know, it's, um you get a feel for it and that's not so like that this one looks a little to round for my liking. I'm I think I'm definitely going to leave the, um the big flower will maybe actually, let's try something doing a few little white lines, just defining the seed heads. Actually, I like that. I'm glad I did this. See, I was going to just leave this, that I would leave and not gonna play with it much more. And I want to do a little bit more white here, sir. the lines show up more And this one Not kind of like I don't want to do anything to that. No, you just add a few to this and this paint iss so thick, but I really love it. I use it a lot now, and you don't want to do too many so that each one looks the same. So I'm just doing that one there. And this one probably just clean my brush this wrong. Probably could just do with, um a couple of, uh, lines going through. Although I think maybe in one of them we could do it all the way around. So why don't we try that? Because I could always cover it up. See, this is where your experiment and the beauty of using this water color think watercolor is that you can get You can take it off. I like that. I like this elect. I like all of them. I'm going to just sit and look at it for a few days and maybe all and ah, fiddle with them a bit more, But let's take the tape off. And now I wanted to share you. The timing for the salt is quite critical. I used the kosher salt. But if you see in this one here, it gave these beautiful larger florets and they look like seed heads. Now, I did that when it the paint was wetter than this was because we were working on the flower heads and and we kind of did the salt lost. That's why I said, you have to work quickly with this. So what I would suggest you do is take some watercolor paper. You take the colors that you're going to use for your painting. Just put some color down and practice with the straw stamps. I called them templates earlier, but I meant to call them stamps. And, um, remember, when you're putting them down that you can dot some of them and go over like this and then other ones, you can do a swirl to make each one look different. I'm already looking at this and don't like all the lines that I did in that one. So I'm going to take some of the Whitewater color and just get over that, and so you can You can overdo it, and you just got to be careful not to overdo it. I'll have to wait until that draws. Now, I'm gonna fix it a little bit. But anyway, um, I just wanted to show you that you can go back in and fix a lot of these things. Now, I don't have a mat quite the right size for this. And because all the stores are closed during this locked down, Um, I'm not gonna be getting one for a while, but let's just this will give you an idea of how nice this will look in a frame. So they were all. Now I want you to go and do this yourself. Have some fun. Don't get anxious about getting it right the first time because you probably went. And that's why I suggest that you're try it on a scrap piece of watercolor paper first just to get the feel off using the straw stamps to stamp in the flowers. Enjoy it. Have fun and send me Fedders of your results. I'd love to see what you do