Loose Watercolor Floral Elements | Cara Rosalie Olsen | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 47m)
    • 1. Introduction

      2:28
    • 2. Supplies

      6:53
    • 3. Mixing the Colors

      10:25
    • 4. Pinwheel flowers

      10:34
    • 5. Bleeds Between Flowers and Leaves

      4:06
    • 6. Leaves with Movement

      7:35
    • 7. Cluster Flowers

      10:06
    • 8. Adding Leaves to the Cluster Flowers

      2:34
    • 9. Loose Roses

      13:25
    • 10. Leaf Branches

      8:13
    • 11. Adding Details

      17:13
    • 12. Class Project - Loose Floral Composition

      13:06
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About This Class

Every fully composed piece of artwork is simply a matter of elements combined. This pertains to ALL art, and floral art and composition are no exception. Today I will walk you through the very beginning steps of composition, starting with how to create several loose floral elements, including pinwheel flowers, cluster flowers, roses, and leaf branches.

Moving forward, we will also explore size, shape, and positioning, how in changing the arrangement of elements we inherently create versatility and movement within the art. We also learn how to control the flow of water and the magic of timing bleeds.

We wrap up adding all those special details that bring a piece to LIFE, and prepare for our class project, in which we put all our newfound knowledge to the page and put it all together, creating a loose floral piece of artwork.

Let's get started!!

SUPPLIES:

Canson 140 lb. cold press paper

Princeton round brushes, in a variety of sizes, specifically 6,8, and 10

Paint: Winsor and Newton Paints

Cadmium free red

Purple Lake

Cobalt Green Deep

Sepia

Winsor Yellow Deep

Aqua Green

Palette (or salad plate)

Cup of water

Paper towel to blot

MIXING UP COLOR USING VINTAGE HUES

If you're new to my page, this might be unfamiliar territory, which makes me excited to introduce you to the wonderful world of muted tones. I will show you how I create new, vintage-inspired colors using two or more paints. I also walk you through the paint to water ratio and how to create multiple washes.

CREATING THE PINWHEEL FLOWER

Likely my favorite bloom to paint - beyond the rose, of course! We use a simple 3, 4, or 5 petal strategy to master creating this darling blooms I have coined "Pinwheel Flowers" for their pinwheel-y shape.

CREATING BLEEDS BETWEEN FLOWERS AND LEAVES

Here we study the magic of timing to control the flow of water and paint to create a disruption on color, aka "a bleed."

CREATING LEAVES WITH MOVEMENT

If you've ever looked at your leaves and felt they lacked movement, sort of stagnant in their appearance, this is where I talk about using range of motion to create flow and movement within foliage!

CREATING A CLUSTER FLOWER

This is simply the pinwheel flower reimagined, playing around with size, shape, and positioning to create something that isn't new but sure feels like it!

ADDING LEAVES TO THE CLUSTER FLOWER

A self explanatory title, we are simply building upon our cluster flower by adding a few leaves and beginning to give the branch a flow. A pencil may be used as a guide to help the imagination along.

CREATING A LOOSE ROSE

I will demonstrate my technique on how to create a loose rose. (For more detailed instruction on how to create 3 styles of roses, ranging from a beginner's rose to advanced, please check my website RosalieGwenPaperie.com for my "Loose Roses Workshop") Here we create something very playful and carefree, one more element to add to our working piece later on.

CREATING A LEAF BRANCH

We will take what we learned earlier about creating leaves and attach them to a stem, which we then use later on to inflect movement in our piece.

ADDING DETAILS - Stems, Centers, Veins

Now we get to add all those special details to our flowers and leaves which are responsible for bringing our elements to LIFE!

Meet Your Teacher

Teacher Profile Image

Cara Rosalie Olsen

Floral Designer + Watercolor Instructor

Teacher

 

Hello, hello!

Goodness, I am SO glad you are HERE :-)

A quick intro before you dive into the lessons!

My name is Cara, and I am the owner of Rosalie Gwen Paperie, an online floral boutique. I’m also a watercolor instructor and can be found teaching budding artists in the Orange County, CA area. So if you’re local, please consider joining us for an in-person workshop!

Teaching is my passion. There is something incredibly beautiful about witnessing a person come into their creativity for the first or tenth time. I firmly believe words such as "talented" do not exist when approaching the creative realm. Every single one of us has been given the ability to share our story through the vein of creation, and it's simply a ... See full profile

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Transcripts

1. Introduction: Hello, my friends. Welcome back to class that we are here for our third class together. And I just wanted to very briefly just remind you who I am if you're not already familiar. My name is Kara. I am the founder of Rosalie Gwynn Paper, which is a fine art company. I specialize in custom wedding bouquets and stationary and loose floor artwork, to name a few and also in a watercolor instructor I teach locally around Orange County, California, and also online, Um, here, obviously on school, Sure, but also on my website as well. I have tons of resource is for inspiring watercolorist. So if after the video you feel like you need something more, you can head over to my website, Rosalie, going paper dot com and just have a look. At the gamut, there's classes and supply guides and color guides, and anything you might want to know about watercolor is should be there. So today we have a really fun class. This is one that I have taught several times in person, has a workshop, but not online yet. And it's something that I really wanted to get done before I make way for a new human to come out of my body. E M. Currently six months pregnant, and, um so excited to just be giving this last gift to give before I probably will hibernate for a while. So, um, today we're going to cover loose floral elements and how to put it together. And we'll kind of just cover the ins and outs of mixing color again to get those beautiful vintage Hughes and I'm creating just loose blooms all in the effort to create something beautifully composed. So I think you're gonna really enjoy this one. There's gonna be a lot of concepts to, um to really be able to just practice and apply and come back and revisit again and again. So, um, thanks for joining me. Thank you to everyone who has already left really kind reviews about this class or about the class that, um, the classes that I talked previously. I'm so grateful for that as a teacher, there really is just nothing more rewarding than to know that people are being inspired to create from your education. So thank you for that. And so excited. So let's get stuff. It 2. Supplies: So the first thing that will go over are the supplies that we're gonna be using today, very similar to my first class. If you have already taken that one, we will be using Windsor and Newton watercolors on. There's a mix of professional and the Cotman Siri's honestly, just in all truthfulness. I don't find there to be an extreme difference between these two brands. I know I get a lot of questions from people asking, Is it worth it to buy the professional line? It really depends on the color. To be honest with you, Um, I found that some color, such as Windsor lavender professional, is such a great color, and it is worth every penny. And then there are others that I feel are just is equal to the common series. So you're always, you know, able to save a few dollars and go with the common Siri's. And then when you're in the mood, you can splurge and buy one or two here and there, and just grow your collection slowly so we have our cake. Cadmium free red. We have a purple lake. We have a cobalt green deep. We have sepia Windsor yellow deep, and we also have aqua green and will be mixing up these colors for some vintage tones like I talked about in my last class. For more information about all of that, you are so welcome to visit my website, Um, muting colors or, um, toning that down there. Vibrancy is something that I've sort of been recognized for in my work. I do love the vibrancy of of fresh colors, but I tend to just kind of telling them down a bit when I'm using them. And I have actually created several color guides that go into great detail about how to do this, how to mix it all together to create new colors, and we're gonna get to do a little bit of that today. So put those after the side you're gonna be using can send paper again. £140 cold press. This is a fantastic beginners paper. I did think about using another brand, which, if you have it, you could consider using legion £140 cold press. That's sort of a nice intermediate paper. Got a nice tooth grain to it, but this the pain just sort of glides. It makes it a little bit easier for those who are just sort of entering into a water color slash intermediate, so we'll stick with this one. I want to make sure that you're using the grainy side of the paper because there are two sides want a smoother this'll backside, and this one has more of a tooth or a texture. So just make sure that if it's not connected to your pad, you're looking, you know, sort of equal with it to see. Just make sure that that green is there. Next we have our brushes. I personally love having a variety of brushes, and the same size is on. I'll tell you that's because I pre load my brushes with color so that I'm not having to mix up color while I'm painting in progress. I find that that really just sort of stifles the process. It makes it less enjoyable for me. So if I have two brushes and roughly the same size and eight and a 10 I can pre load these while I'm working with other brushes and then just sort of swirled them, you know, sort of just reactivate the paint and not have to do the whole creating the color, you know, while I'm in progress and waiting for paint to dry because a lot of times I'm using wet into wet technique more on that as we move along. So definitely consider investing in multiple brushes of the same size. If you don't already for today, for purposes will be using this size eight this size 10 another size eight. Another her. Excuse me, A six a three and one more size six So can kind of see here a 10 eight, two sixes and a three had them all out of order there. But just having a multiple brushes in the same size just helps because we're gonna be using multiple washes, and I'm gonna show you were gonna walk through that process. And it is a time consuming, tedious process, and it's one that really deserves its time. So I don't want to rush that. It's something that I want you to really like thoroughly understand and enjoy. These are all Princeton, by the way. Except for this great one, which is a creative mark. Princeton is my preferred brand of brushes, so I definitely do recommend them just for price and for durability and just further, all around. Wonderful technique. Lastly, our second to last. You'll need a couple water and then you'll need a pallet. Now this is where there's some wiggle room. If you follow me on instagram, you know that I don't use a traditional palette. I use salad plates, which worked great for me, and I do recommend porcelain. Like I talked about my last class. I just find that it's so much easier to mix up paint when using a porcelain surface versus the plastic surface it beads up is just not quite as enjoyable. And you have to work that much harder to create washes. So just to give you an example, I have multiple plates with multiple pallets. I just leave the color on here, You guys, it's really nice to be able to just sit down as a busy mom, pick up one of my palettes and just kind of work with the colors that I have going on. So this'll one and I have this one with these corals and green, and then I have this one that's more purples and yellow that I just kind of reactivate everything. Everything just makes it up just fine. If you don't want them to get dusty or dirty, you could put another plate on top and just kind of clothes off your palate. Um, like, this thing is what I do when I'm not using them. And then everything is protected and the dust won't get in there cause you will notice that if you're especially, if you're painting outdoors or if you're painting with the window opens just great. We'll get in there and then it will strope in your paint and it's just fun They had to start all over again. So all right, so that is our comprehensive supply list. The other thing, which is totally optional because we're going to be working with some negative space today in just envisioning space as we create flowers. If you feel like you want tohave a guide as we go along, go ahead and grab yourself a very light pencil. I'm using this favorite style HB, and, um, this could be used as a guy just to sort of give you a reference point as to where to begin . So you might find that hopeful. Okay, let's move on to the next topic 3. Mixing the Colors: Okay, so I'm gonna ask that you indulge me here for a moment. Although I am teaching watercolors, I do not want to give you a watery class, which means I don't want Teoh water down the education behind the application. So I want to be very up front and honest with you and let you know that mixing up paint ahead of time not only is one of those things that saves me a lot of time and just joy in the process, it takes time. There have been moments throughout my journey as a mom of still a very young child with one more on the way when I have really only been able to just prepare the palate. You know, I'll get 2030 minutes and depending on how many washes I'm working with, cause that's kind of my my style is having multiple washes of colors. Um, I may only get to mixing up my palate, and that's okay. There's beauty in that process, and I want you, ah, to just enjoy each and every step along the way and just let each step speak for itself is part of just the journey of watercolors and getting to know your supplies and what they're capable of and not feeling like you have to rush through things, you know, just to get it all done and on paper. So, um, having palettes like I said on my salad plates definitely does help that I can justify need to, and I just need to paint a leave for a flower. I can easily just add some water to something that's already laying on my plate and get going. But for the most part, when I start a new piece, I began with new colors so you could see I already have a few colors mixed up here. But I am going to show you really time color mixing featuring vintage colors. So when you use a color straight out of the tube, it will for opening up our aqua green look something a little bit like this going Teoh did my brush in tow water pick up a little bit of that color and just show you how crazy vibrant that color is. It's like a bright turquoise, and although it's lovely, and I think that it definitely like, has a place among the color spectrum that color does not specifically speak to me as an artist. So what I do is I tone it down a little bit by adding some other color. Depends on what other colors I'm trying to achieve, but typically I'll pick up a number or a sepia. In this case, I have sepia right here that was in our supply list. I'm going Teoh. Just pop a little down next to it straight out of the two and again dipping my brash. I'm gonna dip the same brush with the green on it, back into it, and you can see it's 20 it down a little bit. That's a really pretty color, too. And that's another thing you can stop when you find the green. That sort of speaks to you as an artist, but I'm gonna keep going until I get something that's a little bit closer to this. I didn't want to just plop down some colors and be like, OK, here we go and you're like we how did she get there out? You get 1 to 3 different washes, and I just find that instructional videos that are laid out that way just bam, bam, bam! You just miss kind of all of the yummy, gooey nous in the middle and doesn't really better. You is an artist. So we're gonna take our time and just really walk through the whole process so you can just kind of see little by little and picking up a little bit more green. And I'm gonna go ahead and what this other pile cause when it's dry, you'll notice that water colors look darker on the plate, but they will look lighter on the page. So something to keep in mind. So these were about the same color. There might be a bit more sepia over here, and we just kind of combining those two. You can see that That took a few minutes just on its own. Um, as far as consistency. This is what we're looking for. We don't want it to be too watery. We wanted to have sort of a cough sort um, consistency to it. Now, what we will do is we're going to dry up this pile to make a second wash that's gonna be used for our leaves. We're dipping into water over here, and we're beginning a new pile. You can see that this one's quite a bit lighter, but we're even gonna make it lighter, like here and now we have the same version of that color, but a lot of pressure to do that 1/3 time. Because we may just want to create some layers while we're working. We're gonna rents are brush off quite a bit. Give it a little blood on the paper towel and come down here for 1/3 wash. As you can see, this one is a great deal lighter than that. Last one circled, had a little bit more water to it. And now we have three different washes of paints which, in itself, without using any other colors, is going to create so much versatility and range in your stem branch, which is what? One of the elements that we will be focusing on. So this is that process. I just wanted to show you that sometimes it takes a little while. Um, depending on what sort of colors you're working with and the pigments that they haven't it . They may be a little bit more persnickety. Um, I find that just for example, when I'm working with this ah, quinacrine own violet It's a beautiful purple. However, its ability to mix because it already is a mix is not quite as easy as a pure color. You can learn more about pure colors and all that artistic, artsy fartsy jazz if you want. Teoh. I'm not a purist, obviously, because I mix my colors, which can be frowned upon in certain circles. But it kind of is just how I roll. And I love the whole process of it, and you can kind of see here begin of a different brush. This is two colors mixed, and they sort of separate. And so I'm constantly having to sort of encourage them to get along again. Um, this is a sepia and that color, so they separate after a while. So you'll have to kind of just keep worry working and re wedding it and ensuring that it's the color that you want. We won't be working with that color today because, as I said, it's a little boring, persnickety, and I want this to be more of an enjoyable process for us. So instead of that, we're going to be using a maple lake, which is just such a beautiful purple plop it down right Here's sort of a magenta e purple , and we're really gonna mix up a nice amount of this. So I'm not even really too concerned that there's just a little bit left over here. I'm just gonna go right into it. And again, if you don't have these exact same colors, please do not feel like you have to rush out and buy them. Anything similar is going to do. Great. Just be sure that you're using a artist grade paint and not student grade. Um, just not gonna have the same effect, so I am just kind of poking at it. Um, also, we'll take you even longer if you have let your paints dry, like so around your plate just takes a while. And in order not to damage the bristles on your brush you really want to just set water on top and just sort of roll your brush back and forth like so you do not ever want to stab at your paint blobs because this will damage the tip of your brushes, and then you will not be able to get those wonderful fight points. So coming back here, you can always see, I'm using this side of my brush never coming straight in. Okay, so now we have something That's a nice coughs. Would be consistency. I'm gonna poke back into this Seppi over here. Okay, if it even has a little bit of green in it, not a big deal. And I'm gonna add that to my purple lake. And this is going to be four our pinwheel flower, which we will move on to next but really wanted to take some time and show you this process because it is a love of mine. I have spent the better part of a year creating color guides along these lines because it is just something that I'm ultra passionate about. So here we go. The same exact thing that we did with these three piles. I'm simply creating a new pile, printing off my brush a bit and adding water to really just lighten it up because we want to versions of this color right now, um, you're going to be working with wet into wet technique again. It's something we covered in the first video. If you have not watched that, I would definitely recommend that we will revisit those techniques. But I spend come quite a bit of time just explaining that process. And I m trying to accommodate those who have taken my first class. So there'll be some overlap. But hopefully we can also just keep learning and growing upon what you've already learned. Okay, so this next color is the Windsor yellow deep and just gonna kind of find a blank little spot to put that great here. Just a little dollop. And I'm going to pick up one of my number six brushes. Make sure there's nothing on that and just draw that out right here. So it looks right like that. If there's another color touching it as long as it's, ah, harmonious color. And it doesn't change the color too much. No big deal going to kind of get this consistency. This is going to be the center of our flowers. So we're gonna have this brush preloaded and be using this to bleed into our purple here as we create the pinwheel. Okay, my friends. So that is a little bit of the process. As you can see, it took a little while. I'm explaining Teoh explaining the process of that kind of slows things down, but again really want you to just embrace the whole mixing up paint and loving each step of the journey, cause I think each step deserves its respect. So okay, we will be moving on to how to create the Penry a flower. 4. Pinwheel flowers: Okay, so I wanted to just give you one more little peek at the cover photo so you could see how the pinwheel flower is shaped. This far was coined by yours truly. It is not the technical name. So if you go searching for pinwheel flower, you might yield a search result from me. But probably not much. I named it that because it kind of looks like those little pink meals that you stick in your yard and they blow in their cute and yes, we're just gonna go with it so the colors will be a little bit different. This is when I was working with something that was a little bit more of a lavender versus of it a magenta. But, um, you can kind of see that it's pretty much the same color. So I just wanted to have a look at that. So we're going to start with this then we're going Teoh work into, um, how to add bleeds to that pinwheel. And then we're going to create a stem branch and move on to a loose rose and then wrap it all up with the details. So Okay, just gonna tear this here fresh news Blink page, which can be oh so daunting. I know as an artist, I know that when I sit down and I already have something that's kind of been used or worked on it makes me feel a little less nervous about it. But just know that the blank page was meant for your creation than its for the purpose of making a mess. Okay, so you'll remember me mentioning, um that one of our optional supplies was this very light pencil. For those if you do not have a ton of experience shaping flowers, it is one of those things that you have to practice over and over and over again before muscle memory starts to take place. And you really begin to just detach from your head and your hand just kind of knows what to do and convince jewel eyes the shape. So I always suggest, because this isn't supposed to be a enjoyable process, not only an educational one, that if that part is just overly daunting to use to use a little guide pencil to create whatever negative space were working with. So, for example, while we are creating this pinwheel flower we're going to be imagining that there is a center to our flower because this is an open face flower. So what I'll do is I'll just kind of lightly make a little circle right here. And this just acts of the guide. So I now know that my pedals were going to come out from this circle. I may go into it a little bit, or I may not touch it quite upon every single area. But it just sort of gives me that reassurance just the groundwork that I'm not, um, ruining the shape of the flower as I as I move along. So if that's helpful to you, I say go for it. There is no shame in that. And like I said, as you continue to practice, that will only get easier and easier. So all right, so I have my palate off to the side here and my brushes as well we are right now going to be working with our number eight in our number 10. Um, you have to number eight just fine if you have to number 10. That's just fine to just two brushes that are roughly in the same size because, as I showed you before, we have these two washes of these beautiful colors. So we're gonna use one toe load up our brush here, and I can already tell that I'm gonna need some more paint. This just isn't quite enough. So off camera, I will be mixing up more of that. But, um, that's another thing, too. Is mixing up enough paint for your piece when working with mixed colors? It is one of those things that you have to either make sure you mix up enough paint or you can, uh, replicate what paint and what color you're using. So, um, something to think about? You may want to make a swatch. That's usually what I'll do just to make sure. And I having a little comparison, okay. And then I'm using my number eight brush to dip into this lighter puddle. Really? Just going to kind of make this even more deluded cause I want there to be a really nice contrast between our pedals. You'll see how this really just kind of creates a little bit of drama. Okay, so everything's loaded up now, starting with the lightest color. I'm going to make the first pedal in my leave, and this is just done using an upward stroke. You want to make sure that you're holding your brush in a way that gives you plenty of range of motion. I teach that in my in person workshops that it's all about being able to access your range of motion. So if you're feeling stilted, that means you either need to change theory ancient of how things were laid out on the paper. If you need to move things around, do that. Okay, so I usually start with this little guideline here, and then I I'm up and then I meet my pedal and then I fill it in thing fancier than that. I'm gonna do the same thing starting here with those guidelines. Bring my shout, connect it, and I'm gonna make third panel right here, just filling it in. Now, this is where I'm going to use that other color. I mean, it kind of turned things around a little bit, so I have a little better range of motion and going to create my fourth pedal. You know, I'm picking up a little bit more paint again, turning my paper like so Now you concede just by. I'm gonna just add a little bit of color here. It's not necessary, but you can kind of play with the bleeding aspect of that. Conceived just by having multiple colors, give me multiple washes of the same color. You're Paolo already looks as though there is quite a bit happening with it. It looks like there's a light on a certain area. These pedals look like they're coming up a little bit higher than the other ones. That all has to do with creating a different color of wash and also playing around with the length and the size of each pedal. So for this one, I really did make thes quite symmetrical. They're all pretty much roughly the same size. But just altering the shape and the size of the pedal slightly is going to give you quite a versatile pedal. So we're gonna do that one more time. This time we're going toe also have our number six brush preloaded with the Windsor yellow deep. So we already mix a little bit up. Should be on your plate. Just reactivate it, get it to that. Coughs would be consistency because what we're going to Teoh is lay it into are purple. Once we get to that point, I'm working with a little bit of color bleeding into color on my palette. So in order to maintain integrity and separating those a little bit more Okay, so let's begin again with I'm not gonna use a guy this time. But if you need to do another one, by all means, please feel free. Start with my little guideline. Bring my pal up, create a little tip for it. Come out here, make this one a little bit shorter. So I'm just just slightly playing with the shape, getting a little bit more here. I am going back into my door for wash and point to intentionally rev up against that little place right there to create a please and turning it around even more just to get the best range of motion. Come in here and add one more. All right, so there you go. We have our second. Everything's quite wet still, but if you need to encourage it along can do that. I just kind of nudging things. And now pretty quickly we are going. Teoh, go back into our Windsor and just start adding a center while things were wet. You're using the tip of the brush. If it's already drawing up a little bit, that's okay. Some aspects can be dry and while others can be wet and just start adding some gentle strokes to maximize potential of bleeding later on, we'll go on top of that to add a center. But this is all that we have to do right now. You could see some beautiful bleeding's or is happening there if you want. You could even put a little bit of water back into your flower and just kind of create an intentional bleed. Little watermark there, and so that's quite wet. We're gonna leave that alone for a little bit. You can see this one's actually still wet, too. So if you wanted Teoh, it really just depends on how much water you've laid down. Um, but you can always just check and see where things are at and Keith adding, There you have that. These there's quite wet, still arm. Sorry, these air dry, so they're not really going Teoh react. But that's OK. Sometimes even the dry elements are even prettier than the wet elements so you can experiment with that and see what you like best. Okay, so that essentially, is the pinwheel. It's one of those flowers that does need to be practiced again and again just to really kind of get the groove of it. Even I, after painting these for so long, still feel like it takes me some time to just sort of wake up and remember how to do that. 5. Bleeds Between Flowers and Leaves: we will move into adding a leaf to it. So we have basically four moving pieces. Here we have our two brushes that air loaded up with the same color. Then we have our number six That's loaded up with the Windsor yellow deep. And then we all now also going to be reactivating are green and dipping in with I have a number eight here, so you haven't already off to the side. Should have your plate here. Dip into your green. You can pick whatever wash you want. I am going to start with the darkest wash so that I can create the richest bleed and I'll show you. The's pedals are actually there's They were so wet to begin with that we can still even all this time afterwards, get in there and create a nice beautiful leaf. Okay, same way we shape the pedals, starting with the tip, pressing down on the belly and connecting, and you can see that it's created this beautiful bleed Here. Turn things around over here at a second, maximizing that belly coming back to tip and closing it off can add a little bit more color in there. If you want to write around that white gaining light. I leave that light in there too. I'm sorry I leave that blank space in their negative space to create the illusion of sunlight heading off the pedal. So it's something that you can play around with this Well, so now you can see how it all works together. So let me show you that angle of that flower it's gonna be sort of an, um, flower that's on its side. We're using the same concept, but we have one that is just slightly on its side. And we also changed it to four pedals as that of five pinwheels can be either or now adding a little bit of you deep into that. There you have it. Then we have our number eight brush that's laying off to the side, dipping that in water, coming back over to our web pedal and creating our leaf. Come on over here. Just gently poking the area. It's wet. You could even wait till things are a little bit drier. There you have it. So you have a pedal that, um, terms right, a flower that is sort of more on its side. So when we put all of these things together and talk a little bit about composition, Um, having things kind of on their side or poking out, it gives your piece a feel of just all sort of belonging, things belonging to each other. You know, when you have things that are all just open face like this on the page, you sort of lose that rhythm and flow. Composition is a class I teach all on its own. It's not something I would just try and cram in here. So there is an in person workshop that I teach in Southern California. And it's also something that I am hoping to get down on film as soon as possible and have on my website. So there you go. That is our, um pen will flower. We're now gonna move on to the next step 6. Leaves with Movement: so something else that I want to just bring attention to and kind of give it its proper time is creating movement and leaves. This might seem like something kind of unnecessary to like highlight, but I find that when leaves were sort of stagnant and just appear very stiff, it sort of makes or breaks the flower. Um, I really put a lot of effort into the authenticity of the way that things might appear in nature. So when I create a flower, when I took a leaf eating either coming out or coming over, I try and think of how that might look in nature. And so there are a few tips. It's one of those things again that I think it just should be practiced. But, um, couple tips that I think will help aid you in, um, creating a leaf that has movement. So I think the best way to do that is to show you a leaf that doesn't have any movement to it. So for that we would use just a straight line, maybe giving it a slight belly and then another straight line so you can see that it's not a bad leaf And if you know the flower was arranged in certain in a certain way, it might be just fine. Especially if we were to add another one and actually give that one some movement. Then you know, it might not actually be so bad. But when we create these very straight leaves and don't give them any sort of movement, they just sort of have this habit of looking like sticks. So I find that if you can, whenever possible, Benji Relief arch it. This will help the leaf to feel as though it's kind of has a personality of its own. You know, when you look outside and you look at a tree branch, you'll never see leaves just kind of just perfectly open face. They all are facing a different direction and overlapping, and so we can begin the leaf and not ended in the same place that we're ending. Believe, I think inherently. We just give it that something that nature gives it. So so say we start here. I'm going to end the leave way over here, maximizing that belly and coming to tip when I come back here to the base and reconnect things conceit e that there's a lot of movement happening in that leaf because things are not just all symmetrically lined up again. We want to build upon that. We'll be working on creating a stem branch in another lesson, but really did just want to take a few moments, show you the difference between what a leaf like this looks like, um versus what? You know, leaves that have some sort of range of motion look like. So that's just a one stroke leaf. But you can see by just sort of giving it some movement, it becomes so much more alive. So let's do it down or leave. Now we're going to start over here and we're gonna end up over here. I could see come back to the base, close off that leaf, and it's facing a completely different direction than it began adding to that rallied tip. There you go. So let's attach it to a leaf just to kind of put what we learned into practice will go up here. Now I'm gonna pretend that the leaf is sort of coming out from under here. So here, come at the edge, make my pedal, give it a little stem and then that leaf to tip come back to base. Connect that leaf minimum. Just lighten a little bit of that negative space Go doing again. Coming back up to tip right here. A little bit of a stem. And there you have it attached to our flower. So I hope you can see the difference between what you know, adding a leaf like this first of the leaf like this. Well, dio when you're painting and please feel free to continue picking up a little bit more paint going back in. Creating some bleeds leaves our mind among my favorite thing to paint, and you can work with the pain while it's still wet. In fact, why don't we do that? It will do it down or thief here. I'll make it bigger so we can really play around with it. I'm in a dip into my darkest wash and go back in here really Just have some fun. Things were sort of dry. You can take another brush. It doesn't have any color on it and combined color softening off that edge a little bit. Go back in with your darker wash, smoothing things out a little bit if you want, but you could just see how much interest this leaf has. Give it a little bit of a stem there, coming back over here. Give this baby's of movements. I call my leaves babies. Hopefully, you can relate, because you that's pretty pale to begin with. So dipping into that darker wash of green come back in around that highlight and just have some fun play with those bleeds really just kind of let loose the unrestrained. That's the most beautiful and fun part about floral loose floral watercolors is that there's no rules, so you can see how these leaves compare to, you know, leave like that. These were pretty on its own. It has some special bleeding happening here, but these air quite fun. And just the more you poke at it memorials, you'll be able to just add drama and, um, life to it. But you definitely will reach a point when you feel like OK, I did too much, and that's a whole other lesson on its own to Wences Point to put the brush down. So on Lee, you is the artist will know. Okay, so now that we've done that and we have created bleeds between our pedals and our pinwheels . We get to move on to the next stage. 7. Cluster Flowers: Okay, So the next part in this lesson that we will be covering is how to greet a cluster flower or a cluster branch pictured like So. Basically, we're using the same concepts from our pinwheel flour and applying them to the cluster flower. We will be optimizing using different amounts of pedals, playing around with different sizes and shapes of pedals. To really give that feels that we've created something that's clustered together versus something that's just sort of popping up open face in real life. So we'll be using the same colors, multiple washes again. And then after we've sort of created our branch, then we will add some leaves to it and, um when everything's all nice and dry. Well, Quinn, and add those details. All right. So again, we want to make sure that our palate is ready. Here I have my number six brush dipping into my excuse me, my Windsor yellow deep. And then I also have my number six brush, which I will be using to create the cluster flowers and multiple washes jerker washing later. Wash Just you know, naturally, you don't always have to rent off as you use the paint the watch, The wash will progressively get lighter, so they'll definitely be times worry. I'm intentionally will used a lighter wash, but sometimes I'll just let the brush do the work for me and take the paint off the brush So you'll kind of see what I'm talking about. All right, so we'll begin with an open face flower, and it's the same concept. Like I said it the pinwheel. Except we're doing it a lot smaller, starting with our guideline and just working with imagining they're being negative space in the middle. Do you have something that's pretty small and petite like that? Now I'm gonna bring you in quite a bit closer so that you can actually kind of see how that's being formed. Okay, so now we're gonna do is we're gonna add a three pedal pinwheel flower to imagine that things were sort of poking out and then we'll pick up our number six brush while things were still nice and wet. Go ahead and drop in some yellow. The system nice. And what as well, in fact, I was waiting because it looked overly wet and I just didn't want to overwhelm the color, But Sometimes that's pretty. You can wait till certain elements or dryer. And then at the yellow, it really just kind of depends on what you like. Okay, so ignorant talk may brush. And because I really want Teoh, add some range here with these cluster flowers and just pick up a tiny little bit of paint again, I'm going to go with an open face flower. You know that those two parts touch and bleed, creating my pen we owned? Yeah, playing with the size and shape of things. These are a little bit drier cause it's a lighter wash. So I'm gonna get in there pretty quick and start adding some yellow so you can see how we have a dark, a medium and a light How that just already makes things feel as though there's light hitting certain areas, some flowers or not as far along in their growth and development, and just gives your work to so much more power than using the same wash and just creating one layer. Okay, so picking up my number six again, I'm just gonna continue to build upon this cluster. Let's go ahead and we'll go right here. I do look for where I feel like things might happen organically, so I don't really like, have a tip like Oh, we should put that next lower right exactly There it's just isn't It's not as thought out as rigid is that it's sort of how you shape your pedals and just looking for places where you want, like that center pedal to probably be the longest one and have the two on the side being smaller so that you can kind of see or at least imagine how things might be happening behind and as they overlap. So here I'm going to go in a different direction, make things a little darker. Those case, you can see how making those two pedals quite a bit smaller. It gives the illusion that that pedal it's quite an angle come down here and do the same thing. Let's go ahead and add. Go right here. Drop in a little bit of color. There again, you can wait a little bit if you don't want your yellow to quite a monopolize the color as mine arm. I'm gonna rinse off my brush again and go into that lighter wash. Turn my paper around to get a little bit better. Range of motion. I'm gonna come out right here. Still a little bit too dark. Gonna dip into my water again and finish my pedal. Here we go. I really wanted something that was kind of lightened. Dainty. Okay, going into my yellow. As you can see, we are just sort of building the cluster by moving around in different sizes, different shapes, different positions, really playing with the structure of a pinwheel. Okay, this one's gonna come quite a bit out here, stepping into that yellow. You want to come up here? I am intentionally leaving some space for some leaves, toe happen. And for our stem to build just a little tiny bit right there. If you want to do a couple flowers and then kind of come back and add that yellow, that's a thought to Okay, to go ahead on and to another right here. Come here. We can also be adding some more flowers if you feel like things just didn't quite come out the way you wanted them to after the fact. So, no, once we have something that just kind of is starting to look like it has a nice flow and shape. That's typically when I'll stop. It's usually around. I'd say seven or eight flowers and I can kind of see and imagine that. Okay, A branch is probably coming down here. Maybe there's a leaf kind of coming up here, and then it will finish up here with some some some leaps, so kind of just want to imagine that you're you're cluster has a shape to it. As you're working along, you don't want to spread things out too much and have too many branches caused. The idea, like I said, is to create a cluster. So again, if a pencil would be hopeful, you can easily take something like this. Take your pencil and just sort of imagine how things might Oh, be connected. Then we'll imagine. That's kind of coming right through there. There you go. So we have this beautiful flow to our cluster now, and I mean, I even do that. Sometimes. If I'm really working on something that's intentional and I don't want to have to repaint something 1000 times, then I will definitely take advantage of the pencil and let that do some work for me. So these ones, we didn't quite get in there with the yellow in time to bleed them. But that's okay with me. This is actually still a little bit wet, so perfect. And this paper is great because it does stay with for quite a long time. So there we go. We have our cluster brand trade here, and, um, the next step will be adding a little bit of leaves to it. Um, we want to wait until something's air dry. So unless you do want your elements to bleed here, which way we did quite a bit of that over here, So I'm going to just avoid that. Um, go ahead and let your your piece dry. What you could do is continue to practice some of these elements, or you can take a hair dryer on cool and just dry up your cluster 8. Adding Leaves to the Cluster Flowers: So this segment will be quite brief cause at the very end will kind of wrap everything up with the stem in the centres. But I did just want Teoh take a moment Teoh at our leaves. So if you did use the pencil, then you have this sweet little guide here and we can just kind of begin to add leaves. And again, um, it's something that I might add to as I move along. So after I do my Stammel out of a few more leaves can just giving those leave some motion and some movement. I want my branch to kind of end over here, play around with those washes to you can let your brush do some of the work for you. You can see I haven't blotted off yet yet things were getting progressively later then and see him and imagine that there's belief coming down here. I'll connect that with the stem, and I'm gonna imagine that there's a leaf coming right up here dipping into a little bit more of my green. And obviously this is one of those things that it's some artists choice. You can put the leaves in whatever direction However facing you like them, there is no rule or rhymes. This it's just a matter of what you like. Definitely be optimizing turning your paper around to get the best range of motion. Leave some room for some stem action toe happen, Teoh. Right? I feel like we're probably reaching just about where I would call it quits until I add my stem. Okay, so there we have our cluster flower at the very end will go in and we'll add our stem and our centers and kind of connect everything and give it all this very nice fluid flow. 9. Loose Roses: Okay, Now we get to move on to the next step, which is creating a loose rose. And again I'm going to give you some real time color mixing just because, as you are already been well versed, it's my favorite, and I love to just show the whole process. So if you feel like it's redundant and you don't need to be shown, you know how we're gonna mix up the washes. Feel free to just kind of skip ahead. But, um, side note. This is a very loose beginners. Rose roses are my favorite out of everything that I get to paint. I think the Rose is one of the most fun things because there are so many different ways that you can create a rose and none of them are the right or wrong way. Um, I talk a lot about my journey and how I came to paint the roses that I do, which, um, a lot of people have found themselves drawn to because I was actually trying to create somebody else's roses and failed miserably at it. Haven't we all been there? So it was one of those situations where I really wanted to master this person's technique and I just couldn't cause it was just the way that she herself created roses. And I knew I needed to kind of go on that journey on my own as well. And so it landed me here. I'm so grateful for that to what are now my roses. And I just couldn't be more grateful for all of that failure that ultimately led to something that I feel is is mine and looks like me and tells my story. So just wanted to give you that encouragement as you move forward. If things aren't looking like my work, please don't be alarmed or frustrated by that. Just know that you're creating something that's you. You're telling your story through your art. And while I believe that there's definitely practice and discipline to be had, um, you just don't know what's gonna happen along the way and what you're going to discover and what you're gonna like even better than what somebody who is a quote professional teacher is teaching you. So just please be open to the journey of that. And, um, don't be too hard on yourself. Is your learning okay? So here we go with the cadmium red, A little bit right there. My page, my page, my palate down. And I already have a little Seppi on my plate. So I am just gonna leave that like So if you're using your repeat brushes, just make sure they don't have any green on them. Purple is fine. It'll just be a little bit more on the purple side. So I've rents to my brush, is gonna take a little bit of the red and start drawing out a pile. You can see it again. A very vibrant red, which this is one of those colors that I will use straight out of the tube. I don't use a whole lot of them that way, but this is one of them. When I really want to just pack a powerful punch in this case, gonna just a tiny bid of sepia to it, just to kind of give it a little bit more of that than to g feel. Not much. And there we go, coming up with that cough syrupy consistency. I got to come up with some better than that. I was like, coughs or about like, honey, honey will go with honey and then using my other brush roughly the same size. The number eight that I've just picked up going to make a separate pile, you hear? It's okay of these. Merge a little bit. I will be drawing from the darkest part of this pile. The reason we create multiple washes for the rose specifically is that the vortex, the middle of the rose that we will be creating should be the darkest because it's the deepest part of the flower. And then the pedals that are coming out are the lightest part of the the flower. So we give it a whole lot of depth just by doing this one small, simple thing. Okay, so you now have both of your brushes loaded up. One should have the lighter wash. One should have the darker lodge roughly the same size, and we're gonna go in and create a ruse. So I create roses by starting with a very tight little vortex, like so. It's a collection of see shapes, just sort of clustered around each other. Do not over think this part. So this is what my rose will begin looking like. Let's do it again. This time, try and do some different things, but again, not overthink it. Things were sort of just clustered in on me each other. Some pedals are bigger as we work our way out and others are smaller. Let's do one more. I'm gonna come up really high on that tip now to create these really fine lines. This is one of those things like practice it because you'll see. And I think I like this vortex the best right here. I think it has the most just versatility in it. Men. Sometimes I'll even go in with that color still and just at a little bit more before I start building out from it. So there's three examples of what your middle should look like. If you want to do something that's a little bit more simple, you can always just do a couple and just start with something like that. That's fine, too, depending on how big your roses. So let's move down here and do the same thing Now we're gonna be using this precious well, which has are lighter wash on it, So reload those brushes and all we're gonna be doing is building upon the outside of these vortexes, in fact, probably do that a little bit on this one. Still a little bit wet. But there you go. You can see just adding a couple pedals that are a little bit bigger. Give it such a pretty feel. So we're kind of letting things touch and run here. We didn't really get toe optimize that as much because things were already dry. But you'll see how we do that again. It's just a series of small see shapes and boomer rings clustered in on each other, and then we're taking a brush. We're doing the same thing, just making bigger versions of that. So I hope you don't think I'm saying that always just and then we do this and it's perfect . I know that it takes time and it will take some repetition before, like, it all starts to feel very natural and has a flow to it. But I do just want you to note that the structure itself is simple. It's just a matter of rearranging her or ranging shapes so that everything is sort of cuddled in on itself. Okay. Oh, I forgot to mention if you are a Rose fan like me. I actually made a whole class that is just specifically covering roses from beginning to intermediate to advanced. There's a class on my website. If you want to go that way, or there's just the guide for it, where I draw out the different versions of each rose so that I think it's like $18 then the class itself, which is not on skill share, um can be found there as well. I think I believe it's $99. So if you find yourself wanting to just know more about the Rose and now I came to discover it, you are welcome. Teoh. Give it a visit. Okay, here we go. All right, now why? Things were still wet. I am just taking my fresh, allowing things to just sort of run into each other, doing these swoopy sort of mountain e boomerang shapes, gradually wrapping everything around in connecting things. So there you go. I have to do it quick like that because honestly, the more you slow it down, you lose. You lose traction in the flower. So funny when I used to when I teach my loose watercolor workshop, um, I would slow it down so much, and people would be like, uh, so now I show people that vortex, But then you really kind of get in this groove of adding the different, you know, cuddling shapes as we move ahead. So, um, once things are kind of taking shape, I'll go back in like you saw with my pen and all my pen, my brush, and I'll just start adding some darker elements if if I feel like it's needed, sometimes not just depends flues wedding things up again, but again, not necessary. So let's do that again. Put my paper upside down here so I have a little more room watching where my hand is not going into the pain. Let's begin with that vortex. Really try and just detached from your brain. Let's your hand takeover, then my lighter wash coming in just kind of creating this cuddling shape, letting things touch and bleed and run together. Gradually let your pedals get a little bit bigger and there you have it. Another rose, not too shabby, right cans do one more, and we're just kind of guiding things around until we feel like OK, things were starting to have a general shape. You can kind of see, they all have a different feel. This one kind of looks like the petals are being folded up. Um, you know, that's something that just kind of started that happen naturally is you just work with different angles and positioning things again. This is a beginner's rose. Rose is take time to cultivate and developed. And I just want to start you off with something that just feels approachable, unattainable? Um, we can also, if you still have your let's see your number eight brash, loaded up with some green go in and create some bleeds between your roses. And again, This is like something I would cover in a composition class how we start to put it all together, which will go over a little bit. That isn't quite wet anymore. But that's OK. So there you go. There's a little small demonstration of just how the leaves attached to those roses. Right? So now we will come back into our next up 10. Leaf Branches: If you are joining me from my previous class on skill share, can we just pause and take a moment to appreciate the sounds in the background they could and no sounds, no gardeners, no snoring Chihuahuas, no screaming toddlers. You know, as much as we teachers plan and hope to just come here and give you a perfect video edited and streamlined life will always find a way to interrupt. And I think, honestly, that is the art in life. And that's just kind of what makes everything so much more beautiful is that the unplanned will happen, whether or not you've done your due diligence to make it all come out planned perfectly. So anyway, I had to just share that little piece because it was funny. My first time. I was like, Are you kidding me? I cannot believe this is my first time in here. I am giving people a video with all of these imperfections, but, um, ironically, here I am teaching loose in perfect art so well, life imitating art there, moving on. We're going to be creating our stem for our branch. Um, I will use thes um what I'm creating like bouquets. so I always begin by having a nice pile mixed up. I'm going to use the same pile we were using for our leaves to create the stem and dip into the darkest area of it right here using my number eight brush. And I'm really going to maximize coming up on the tip of my brush. If you were at an angle here, you're going to make whiter, fatter strokes. If you come up vertically like this, you're going to really maximize the tip of that brush. So it again, it's something that looks very simple when you see people who have done it about four million times doing it. But it's something that takes practice. So even on a separate page, fuel free to just start practicing the ark. In fact, why don't we do that? I am just improv ing right here. So take this off will come back to this page and if we want to, and we're gonna use this fresh page to just sort of practice, the beauty of a branch visit in itself really is kind of a lesson. And as I already said, I don't want to give you a watery lesson. on watercolor. All right, so starting We're going to make the bottom of our stem just a little bit thicker than the rest of it. So will kind of give it a nice little push down. And then we're going to gradually become vertical to come up on that tip. Now you can kind of see that it's created this beautiful little arc. I may then come back and and finish it off like that. Um is you can see it's a little bit thicker down here. It's one of those things. Like I said, it looks very easy. And then you try and do it and it looks like this. Eso please give yourself time and patience. It doesn't have to look exactly the same. Let's try that again. Coming down a little bit thicker and then really come up on that tip bending. It's all about range of motion here. My paper around. Excuse me. I'm just rocking you all over the place. And now we will make our make our branch and start adding leaves to it. Alright, Radhi, this time I'm going to start a little bit bigger. Gonna come out and dio stem here on come back to the base and follow through. There you have it. Now we're gonna add some leaves. This is nothing new. This is the same thing that we have been doing. Adding leaves to our flowers as well as, um, creating movement and our leaves. So we're gonna play the same techniques in doing here. So using that tip your brush, little stem and then bend bend really play around with shape of your leaves again. No rules. This is all about just kind of playing with the authenticity and organic nous of nature. If you need to go back and re watch movement in motion and leaves, feel free to do that. The idea is just to continue moving along with your step, that is my only recommendation is to not, you know, do a leaf all the way over here. You could potentially do something like this, and I think that has a nice feel to it. This is also a good time to play around with multiple washes. So we have some dark relief. So now what we could do is experiment using some lighter leaves, even some bigger leaves, as we do. And sometimes I will actually finish this off. Um, first, just so I could make sure that I don't lose the integrity of the branch, I will usually make them smaller as we move towards the, um the stern of the leaf. Our excuse me of the branch. Um, just to make sure. Like I said, you don't lose the shape. It's easy to dio when you don't have guidelines, but playing around with the different, um, the different washes. There's just a lot of fun, especially on the stem branch, because you're going to create so much fun and versatility in your leaves. So I'm just kind of going over what I already have covering that stem here a little bit, which I think is very true to nature. The idea is to just kind of place them naturally, allow some to kind of overlap and interact with each other the way that they would on a real stem, come down here and pretend that maybe there were two leaves on that little branch right there. And so I think right about there is probably where he would stop. Um, I may continue to add just a little bit more details to some of the leaves, But other than that, I really like the way things are shaping up. And, um, it kind of gives me a great foundation for coming back in and adding the veins at the very end. So there you have it. There is our stem branch again, these air, Great. If you are creating bouquets and you want things to kind of come sprouting out from the sides, I also will use them in my my cluster work where things were more just sort of kind of looking down upon them. And if I want to have, like, a long stem coming out just to give, um, a nice composition to the peace, that this is something another technique that I will use, it doesn't always just have to be leaves poking out from flowers. Sometimes we can use the whole branch, and that just sort of brings the peace and shapes it together. 11. Adding Details: Okay, So the very last thing that we get to do, which is kind of my personal favorite part, is when it all starts to just come together and we have to have the details and the stems and the veins and the centers of the flower. I do want to make note that if you wanted to do some of this while you're artist a wet, you can experiment with that. Absolutely. But typically this is going to be the darkest, most dramatic part of our art. And it's nice to wait until the elements are dries because we have so much wet action happening. So we have our pig picture practice peace here. We can see. You know, there's just so many beautiful bleeding aspects happening that having some still moments in her piece actually really does benefit it. But let's just go ahead and whip up a little bit of that color. I create the darkest part, um, using a combination of sepia, and sometimes I know he didn't put this in the initial supply list, so I'm kind of going off the cuff here. But, uh, I use a combination of sepia and Payne's gray. If I really want it dark for our purposes Here, we can just use sepia. Um, because our elements aren't so crazy Dark. I'm gonna just show you anyway, so that you can see what it would look like. We have sepia right here. And then what happens when we add just a touch of pains? Great to it. This to break there again, Totally optional. If you don't have pains grade, not a big deal something, it's gonna look beautiful. Payne's gray is one of my colors that I honestly could do an entire workshop on it because it's not gray. It's not blue. It is something in between. And it justice so pretty. So you see, I don't use a lot, but I really take my time. Mix it thoroughly and it just comes out giving this beautiful, smoky brown, which is kind of my favorite color to work with when I'm adding details. So I have my number three brash, detailed, fresh. I have my pile, go ahead and add a little bit more sepia back into that again, just really working the pile until it's the right consistency. This was something for me that I used to just mix up pile. Okay, that's good enough. Once I really started to take time and just take, like, the integrity in in mixing up the art before beginning the art. It really did just kind of benefit my whole process. So I know you're like enough already back to the art. Okay, so let's start over here. This is one of those steps where there is really no. And then you put a little mark here, and then you put a little mark there and then you 23 or four more marks right there. It's a matter of you looking at your element and just seeing how it's shaped, how it's positioned and where you fear fear. Don't fear no fear where you feel something might be benefited from adding a little bit more detail. I don't feel like you have to overdo it. Start with a few and then come back, Take a breath, take a pause, take a beat look and then come back and add a little bit more Typically will kind of touch upon the edges of my yellow. I won't go over them. I mean, if if I am just giving any instruction about this, which, really it doesn't need any. But I will typically just start by rubbing up against the yellow and again just working with that negative space. She says you can see I didn't do a whole lot. Just a couple little marks. But it already begins to just give this, um, this flower a lot of depth. So this is at this point, I'd probably say, Okay, that looks good. And then I might come out and do a few more thinner marks, but I was just kind of building things up in turn your pictures for your paper around. If you need to get a better range of motion, I'm just gonna kind of work with, like, what I got right here. There you go. There's our center. Nothing really crazy fancy about it, but takes what looked like this and turns it into that which I think is pretty darn special . So let's do that again. This is just one way to do a center of a flower, too, By the way, there so many different ways to do it. I cover some of them in my other classes, and I don't feel like you're married to this, you can do a different style. We're gonna do a different style when we work into our cluster. Okay, Kind of just looking at the way things were shaped. I'm just checking in. Let's do this last one. But we do some of the thicker marks here really come into that center, and then a couple more do we have it? Okay, not lead directly into our cluster flower here. We're going to use a spotting or a speckle ing method. Um, this just a matter of increasing the pressure on the tip of your brush, start here at the top and again, I'm just going to start adding some little speckles Most but again, these were at the center, most of the flower kind of leaving that yellow area alone. And occasionally you may need to dip back into that sepia as your brush gets dry and just continue to dab, increasing the pressure coming up vertically on your brush. I honestly just feel like it gives it such a dainty little feel while not detracting from the beauty of what's happening. If you like the more of the the look that we did appear, you could obviously do that down here. It's well, I just wanted to give you a couple different looks at, um, a couple different possibilities at a couple different looks. So Okay, so we have the center of our cluster and our pinwheel, and we don't need to do anything to the roses because those air already just complete. But we will continue with doing veins and start here with our cluster since we're already working on it. And now we will go back in and on that stun again. It's the same thing pushing down a little bit more and then coming up, really maximizing the tip of that brush. And we're just going to start sort of conducting the pieces. Go slow, Take your time. Careful not to, um, put your palm on the cluster. I've done that so many times. Fortunately, loose art is very forgiving in that way. But still, it's nice to not the have your fingerprints all over time. Let me go in and add some of these little I don't know what you'd call him. Just little twiggy aspects of the cluster. Just to give it up just a little bit more. Authenticity is a branch. Okay, so now I'm gonna be moving the paper around a little bit just to be getting on the best sort of England Did that there and with our stem again, it's just a matter of coming up the leaf, giving it a little bit of pressure. And you can either do like to vain ing process. Or you could just keep it super simple and just do one totally up to you. Whatever you feel looks best. These leaves were quite small. So I do recommend not trying to cram in too much meaning action. Um, it'll just kind of start to overwhelm the whole branch. And you really just want to let it speak for itself a this point because you've done so much work and, you know, creating all of those beautiful things happening. This is just the details. Here we go. It's another one paper around. Me, too. Checking my palms. Some of this might still be wet over here, so try and check my poems routinely. Really? Just trying to give it a gentle appearance, not overwhelm cluster. Hopefully you agree that the stems are our Excuse me. The veins air a good call It's one of those things that I always think it adds, just a little bit more drama to the peace. But if you love your leaves the way they are and there's like, quite a bit happening like such as Thes Lease and You want to just totally just leave it alone and don't touch it. I respect that. Please feel free to take artists liberties for our purposes here. I just kind of want to show you all possibilities. So that's why I'm doing everything one at a time. Okay, go ahead and without getting sepia on my palm, we'll put some veins and these leaves. And if your pile is starting to get a little bit watery, definitely go back in. Get that honey consistency that we were talking about earlier, because you do want your leave toe look arms or your vein toe toe look separate from your leaf. You don't want it kind of blending in with it so you can kind of see hear Things could probably be benefitted by just being a little bit darker, so I'm off to the side here just for a moment, mixing up a little bit more sepia. Payne's gray. So there are a few things there. Let's go back over here. I really kind of try and play with the playful nature of leaves. And, um, you don't obey any, um, any rules. That's her. Often leaves were concerned, in my opinion. Sometimes by making them off to the side like that gives it a little bit more of a fun appearance. Um, I am into these horns ground, huh? There you have it. We have some veins out of to our leaves, which I just think makes the whole thing just really come together and pop. That's my own personal opinion, But again, please feel free to take some liberties. So let's go back into our stem British that we created nothing really different. But I thought I would just show you anyway. One more little concept. Sometimes if we have done the branch and green, what I'll do is I'll take a little bit of that sepia and paint gray, and I'll just sort of run it along the edge here, and I try not to overthink it and get to strategized with it, because I feel like you lose something special when you start to overthink things, but just adding a little bit of dark. Just feel like that kind of gives it this rich richness and appearance, then going in and nothing remains my piles getting watery again. It's one of those things that takes constant attention and diligence. I can already tell that coming. My veins were kind of starting to blend in a little bit with the leaves. Those are a little better just because leaves itself where? Not quite as dark. But you can experiment with really thin beans. Really thick ones scrapes the limit. Okay, so there you go. There is our stem branch. You are obviously more than welcome to keep adding to it and creating layers of just interest. I think that's what we call it in. The technical world is just adding interest here, your leaves in your veins. But this isn't the point at which I would probably stop and just take a beat and then decide whether or not it needed something extra 12. Class Project - Loose Floral Composition: Okay. So even though I think I mentioned before, composition is not something that I want to just cream into a class where we're focusing on loose watercolor floral elements that itself just takes time to explain and don't want to throw too much at you at one time. But that being said, I thought it would be fun to just show you how everything that we've done together works together to create a beautiful floral arrangement. So I'm gonna do a miniature version of that. Using a pinwheel flower arose some wet into wet leaves as well as a stem and the cluster and just kind of piece it all together briefly. And it just like I said, a minor version of the potential when using composition. Um, more on that. That is that the next workshop that I intend to put on film. I do teach it in Southern California, so you can check if your local and see if I'm scheduled to teach that workshop. Perhaps by the time you're watching this, I may have already filmed it, so just check the website. I won't be a plating uploading it to skill share. Um, I have certain classes that I do for for both. But it will be there hopefully in the next. My guess is it's beginning of September here. Hopefully the end of September. Maybe early October is my my goal. So we'll see if that happens. As you know, if you've watched me their video, I am also five months pregnant, so this'll slowing down slowly but surely so Anyway, we have all of the colors that we're working with here. We have our reds and violets and her grains in our sepia and are yellow. So we're gonna be working with this palette. So I'm gonna kind of just reactivate everything because I'm gonna be moving quickly, just in order to time those bleeds and whatnot. So if you want, you can always just watch this and not paint along and then come back and watch. Um, everything that that I did and then paint along with me. That might be a little bit easier. Um, but I'm gonna mix up some of these consistencies so that there where I want them cause this is dry. This isn't nearly dark enough. There's not enough of that. So I'm gonna do that. Makes up my palate and then come back here and we will just kind of put together stitch the elements that we've created together to make something totally new and different and also that it needs to put on a little classical music worry pain. So hopefully you don't mind. And this is why we watch our poems when things were still with not really a huge concern. Like I said, Lusardi is very forgiving but still kind of nice to not have to stop and correct things, but kind of beneficial for this video, because then you can kind of see how what I would do an event that that happened. Unfortunately, things were still nice and wet, but I'm trying to do is alleviate moving the page around so you don't get dizzy but never really works out for me. Also, I don't know what happened to our beautiful music, so just stopped. We'll just have to pretend So this is working with while things were still wet. We didn't do this on our example, but because I want this all to be in one shot, I figured, well, just kind of roll with it. As you can see, some really pretty bleeds air happening here because we are letting things touch weather so wet, So definitely an option there. So I would definitely continue, um, building on this piece. This would not be where I would stop things at all. Um, but I just kind of wanted to show you how, um, these things could work together so that you can kind of begin to imagine how you would create your own little piece. So anyhow, it's a very, very loose and rough interpretation of how to put it all together, but can kind of see how things were kind of starting to take shape and would eventually end up at some place that felt very round and whole and natural. So hopefully that's a fun class project for you. I would love to see if you want to just do your elements, then that would be great. I would love to see those or if you want toe put it all together. Obviously we're not adding the details because things were still quite wet. But if you want to put it all together in a floral piece and share that in the class project, that would be great. um I have so much fun teaching you. I hope that you when you come here, it's just about joy and learning for you. I hope I have given you so many new things to consider and think about. And if you loved the class, I would just be so appreciative if you would leave a review. All right, my friends, that is it for today until next time.