Loose Watercolor Florals - From Vintage Inspiration to Modern Interpretation Part 2 | Cathrin Gressieker | Skillshare

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Loose Watercolor Florals - From Vintage Inspiration to Modern Interpretation Part 2

teacher avatar Cathrin Gressieker, Artist and Textile Designer

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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 43m)
    • 1. Introduction + Class Project

      1:53
    • 2. Art Supplies

      3:51
    • 3. Inspo Board

      3:42
    • 4. Painting Peonies- Front and Side Facing Flowers

      9:13
    • 5. Painting Peonies - More Peony Shapes

      13:54
    • 6. Painting Peonies - Leaves and Finishing Touches

      13:26
    • 7. Painting Roses - Focal Flowers

      14:07
    • 8. Painting Roses - Secondary Flowers and Leaves

      14:25
    • 9. Painting Poppies - Focal Flowers

      18:17
    • 10. Painting Poppies - Secondary Flowers and Leaves

      8:13
    • 11. Sketchbook Flip Through

      1:12
    • 12. Thank you!

      0:38
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About This Class

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I am back with a new floral painting class and this time we are really taking our loose modern florals to the next level!

This is part 2 of the class series where we use vintage botanical illustration as inspiration for our own fresh floral compositions.

If you haven't taken part 1 where we build our floral painting foundations, please click on the link to get there: https://www.skillshare.com/classes/Loose-Watercolor-Florals-From-Vintage-Inspiration-to-Modern-Interpretation-Part-1/1980003934

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But that being said, you can also take this class on its own. It is recommended for intermediate and advanced watercolor painters. 

In this class I will show you step-by-step my whole process of painting loose modern watercolor florals and the inspiration will come from vintage botanical illustrations.

I have put together a new Pinterest Board inspiration board especially for floral composition and all these beautiful images are free to use as painting reference for you. I am big fan of Jane Loudon and Elizabeth Twining and we will use their art as reference in this class.

So grab your art supplies (I will show you mine too) and let's paint together!

Cathrin

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Cathrin Gressieker

Artist and Textile Designer

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Transcripts

1. Introduction + Class Project: Hello and welcome to my class. Lose watercolor floral from vintage inspiration to modern interpretation part two. So we're going to paint again my three favorite flowers. It's poppies, it's roses, and it's pianist. And this time we're doing this in a really, really packed composition style. A brimming bookcase full of beautiful Florida, and I can't wait to paint with you. This class is suited for intermediate and advanced students, and it builds on the skills we learned in the class. Number one. That said, you can also take those class just by itself and use the techniques used in the class. My name is Catherine Brassica and dive, a floral artist and pattern designer, and painting flowers. It's my job. And I love sharing my passion of painting flowers with everybody who was interested. So we'll use these vintage botanical illustrations as our starting point. And then we'll take it into a loose direction and make it our own. I have prepared a new flow exploration board and Pinterest, and feel free to use any of the reference paintings provided for your class project. You can paint along with me the poppies, the penis, the roses, One of them, all of them step-by-step follow me or just having a look at my process and then just doing it in your own style from different reference photos. I just can't wait to see all your beautiful phobic case blooming in the class gallery. Grab your art supplies, your brushes, your payments, you're watercolor paper, and see you in class. 2. Art Supplies: Let's talk art supplies. I always encourage to use what you have at hand, what you like to use, what's your preference? And I'm just showing you what I use. So of course you need watercolor paper. Any you like to use and using this cold press paper by German brand, those now in a 22 by 32 size with a bit of texture. And I'm using my favorite brushes. And number 12, round brush and maybe also a bit. And number ten and for the paints, okay, that is quite an adventure, quite a rainbow for the, for these projects. So I always like to use my, my doctor ph Martin's liquid to radiant watercolor. And I think starting with the yellows IS yellow daffodil. Yellow, orange will be there. Then probably some, some lighter pink and ice paying most rose, cherry red, crimson, not an every, every painting. But these will be there. Then also some olive green, Chartreuse, jangled green, slate BlueJ across, violet and higher, seventh blue and also some black. And then for our penis, because they have this really dark red and I couldn't find it with the doctor ph Martin's that they don't really do Cheriton crimson. I also use these by Holbein artists. It's a car mine and Permanent Alizarin crimson. And also this brilliant pink and a bit of the Bright rows. These are here. And then also, because I just like it, I'm using this jade green in the PMI is painting. It's by the Japanese Brent. Coach Jackie. Again, you don't need this color, but if you have it, if you like it, visit. Okay, another important element for my color mixing is my, my color palette. And they use this paper pellet where I like to put all my colors that the makes renew them, have those areas where the muted colors and the grace and the browns are and just add to it and add to it. And so I have some other other Hughes also, not only the bright color. So this is also what I use an M using pain quite intuitively, I will try to talk you through every color it take, but sometimes you will just see me using this and not saying too much, but very important for me, this pellet, I thought of using a fresh piece of paper for this class, but then I thought, no, I need this for all those shades I'm using. Okay. Then what else do we need to, of course, some water up to glasses. What I use for my first version of the brush. One if the other one if I just need some more water to clean it or if I need freshwater, then to death my brushes sometimes I'm just using plain role for toilet paper. And then we need our vintage floral composition inspiration board. And more about this. In the next video. 3. Inspo Board: Let's have a look at the inspiration boards. So I put together a fresh new board for you, vintage full composition. There's some liberte here down their pennies and nominees. You might recognize him from last class. Well this is beautiful. We're gonna do all delays. All the ladies in this class and all the other reference paintings by Jane Loudon and Elizabeth twining. I discovered them both recently and I'm a big fan now. And they both were born in the beginning of the 19th century and lived in work. Then it's the time of Jane Austen and the bridges in series. If that mean something to you. So I went down that rabbit hole and it was something that was a bit smarter porno ladies and their watercolors. And they really exceeded at least and obviously a little bit twining that, sir. And this also and this here. And if that name twining rings a bell. Yeah, that's for a reason because he wasn't eras of this T dynasty, the twining tea. And she painted by l. So the grubs. She made all these beautiful illustrations. They also came out in books and the middle of the 19th century. And they are really quite amazing if you look at them. And then Jane Lao-jun, That's hers. And this, and she has a really interesting quality to her painting, something like this. You know, I think it's sci-fi, it's modern. It's amazing. And yes, she was quite an amazing lady to lots of talents. And she was young, like me, a teenager, early twenties, she wrote science fictions, science fiction novels like The Mummy predicted some kind of internet. Amazing. And yeah, and I sometimes think her illustrations will look a bit sci-fi and out of space. And she married missile Loudon, who was a very famous garden article architect at that time. And all the books and horticultural books were just for experts and men. And she thought out this can't be. And she then became an expert and botanical illustration and published her own ladies manuals of gardening. The same time like Elizabeth twining, middle of the 19th century. And they became really popular and started like a trend of gardening. And young women or women. And this was not there before. So we have to thank her for that and a lot more. And especially those some illustrations, you know, I nearly dropped off the couch when I saw this for the first time. All of its color or this punch, goodness, all this modernist, so beautiful. I'm a big fan. We're going to use these. You can use any other from the Pinterest board to sew algebra, penis, roses, puppies. And then there's also lilies and tulips and pansies. So lot's two dots to paint. He viscous. Take, grab your brushes, and let's go. 4. Painting Peonies- Front and Side Facing Flowers: Let's start where we left off in the last class with penis. And we're going to give them all our new fresh energy for a more complex composition is not only one penny, it's five of them. And yeah, different sorts. Often penis are very frilly and these edges, some with a couple of petals, not so failed. Still lots of vibrant color. And this is the reference image by Jane Loudon. And isn't it simply amazing? And we'll have a go at this one, okay, putting this to the side, and we have those pings and we have the reds and the whitish penny. But those overturned petals. And yeah, there's some purple low lights in it. So we'll just try that. And I'm going to take some fresh paint. And as my doctor ph Martin's often don't have this really dark tones. I take these, hear the car mine and the Permanent Alizarin crimson, put some on my palette for the darker penis. So it's not a big difference between those two colors. And I'm also taking some brilliant pink light one and maybe also bright rows. And then let's see what else we can take. By Dr. ph. Martin's. Take a Wild Rose number, bright pink and pink, the lighter pink. And also some darker tones like the crimson. And just putting it right here on the palette. And probably also the cherry red and everything else will do well developed from that. And I think for the leaves, take a bit of this jungle green. And as I fell in love with this jade color, I will also use this, I guess, and everything else will happen in the process. So let's have a look at this one and take the brush with the brush. And I think we're going to start with that opinion, some dark tones here. And then just be brave and start some brush strokes. In the direction of the way the petals are growing. And this is some of the Crimson. So pick a different color. And the color is more, it's more fluid and it bleeds more and the other is more solid and a bit more chunky. Good. Clean the brush. Take some of the pink here. This petal, right? This one hand. The meeting. The darker at the base. It's much more chalky. You see how these, these paints behave in comparison to the liquids that it's good to, to try different things once in awhile, it's bleeding. And you see it's much darker here in the middle where they meet. So let's let's take some some darker color. Even tried black. Even though black is not. Some say don't use black, but we'll just put it in the middle. And blue mix with them with the red and then we'll see, okay, let's take it. And just, oh, that's quite a lot, maybe too much. And let's try to mimic the painting. He also, again, we're doing our loose interpretation of that. And then we'll see how it's going to look at it. Dramatic to start with any ways. Okay. And then I'm going to wait for a moment here before I put on putting the yellow. So I'm not sure how this is going to bleed and go to my to my Jade color. I'll take any other green you have. And at the stem here that it played a bit here with connected. And probably it would be better to pinch the flower first, but this one, but as I have the green on my brush, I'll just add a couple of leaves here, similar to the one in the painting. And also clean the brush. Take some of my Jungle green font to suggest that tips then a bit darker. And then we'll just see later on what else we can add or not add. Okay, there would be this other, one thing, this big, really fluffy ball of P90. Gonna wait for a moment and continue with this opening to the side Flour, Water here. And let's start with some Pinky's sides. At some, some darker red base petal. Then they're really dark. Here. The side of the brush of mimicking the shape of them. For flour. Maybe you can get these edges right. And here I'm going to leave a little bit of space for later on and also add some dark, which seeds really bleeding. Our teams would better be hoop. It's like painting newly careful. Before said it already happened. Some drama happening him. And just add some of the time being. Then maybe later some red. Okay. This is the stem connecting, bleeding a bit and then Spinney has these VSB, leaves. Some of these Django green, some my, my J8 color can still add more later on. This is for the time being enough. And still a bit afraid to paint this fluffy ball in the middle. So but I picked this one, then see how it can add it. 5. Painting Peonies - More Peony Shapes: So a little bit of green in the middle. Yeah, it can we add this is more like a lighter green. Have some my home, my pellet, mix it soon. Just think I'm just putting it here. And has lots of these Poland stamen, pink and just adding it all the same brush, even though it sir to 12 step size 12 Bush. Could use a final brush. Then also some Poland. Funny shape there. Just a few. I'm going to see how we can paint our petals here. Trying to get the shape right. Kind of white. Like metallic. It looks like it can add a little bit of more paint later to it. This is like turned. There is one, like tucked behind one is turned. So lots of things happening. This little flower was trying to capture it, kind of strewn around. That's one and also the slip here, that flower. So we will not be able to do this really exactly like here, but they can try to use some darker color to suggest that it's like like darker. So my black is nearly like a mug, mahogany color. And here you see some dark leave in the shade. And just putting this here, maybe a bit more bread. It's still bleeding. And also adding some here. It's a suggesting that it's here and at one is also curled and just try and see how you can come up with a solution. It's always. So problem painting is problem-solving. The base here is darker. Sum adding some here. It's problem-solving and it's an allusion to use all these. Colors and give the impression that it's a flower. Okay? So you see at the base and at the top it's darker soon adding some of this. And there. Maybe it will give it this metallic look. Probably not as good as in the painting, but adding some ham. Some ham. Okay, and this is, you see, it's all very wide as it's touching here. The middle. And I will just see how this goes. Clean my brush some water and try to touch it. Let it come to the middle. And then add some more Poland. Maybe some green here also in the middle. And even though it's more ready, share the stamen. Add some green. So you see this is coming flower, not like the original one, but it's our reference and we cannot pick this line here. And this here. We have the overlap, the petals. And then testing those. Having fun. Okay, so we'll focus on this one here. Let's see what happens up here. Blood out is also while not clean the brush and maybe some of these leaning and still very white WHO bleed. To just suggest the top. Also here. Every watercolor brand behaves a bit differently. See what you like, what you would like to, to work with. And I think at this point I'm adding some, some stamen here. Maybe it has this funny shaped thing here. I don't know all the botanical words for it. And then also taking a loan. And let's take 11. And let it come here. It's just a little brush strokes. Can also played a bit. And it's also make this here. There will be bleeds happening. It's OK. We'll add later a bit more to it. So just for the moment, not the most beautiful of blades. Maybe you really want to color. And just having some of maybe we can go in with a darker one later and add some detail. So we continue now. And I think now it's time to be brave and put this here in the center. And yeah, painting every petal, ss will be hard. So also this I will do only very suggestive getting some pink and doing these brush strokes. Full laughable of p0 n0. It needs to be some space here for the other one. Just putting some there and there. And it will be more, they turn up to the leaves here. And you see it's a bit darker here. I'm darker down here. And then tells these darker lines just to some places. Again, those floral painting, all the details. Just a general feeling of it. Modern interpretation. Okay, so my eyes everywhere and it doesn't really like this plate here. Just take it off. Maybe some here also. Experimentation and as long as it's wet, there's still some room for, for correction here with watercolor. Not too much. Little bit. Yellow finger. It's a bit messy, but not too messy with watercolor. Okay, so having a look at this, well, just wait a while to see if I'll do more or less here. Let's have this flower him. Yeah, paging white flowers or kind of wildflowers is not so easy. And usually they are not white. You see there's purple, there's grace. Sometimes lose and yellows. And we'll just try. And also the, the middle here. If you paint this red, will this book right? I'm not quite sure, so just doing it like this. And I think I'm starting with the statements here. Different directions, just loosely painted here. Let it run in here bit. Then let it bleed with paint. Ok, so I have this, is it little bit purple leftovers here on my palette, but I can't really get hold of them. Maybe here. So I'm just yeah, it's mostly water. Newly multicolor here. Maybe we should take some more violet here. This is very concentrated, so I'm putting it on the pellet, adding a leaf here and there. Okay, there's much happening in this flower and it's more interesting if I put more color in it. So maybe some kind of blue, light blue, and a small green tone. Just starting here. Also touching the middle. With the basic shapes, a dam, then there's the slips is turned flowers. Petals can look nice, but not so easy to paint. Do that in a moment when it dries. And just adding a bit of this. Meaning here. Again, I'm very loose interpretation. How often do I say this? And for this, the Sterns, for this lips, they value something we already have here, like the red. You're just see like headed at the edge. See how this will look like it leads still. Just suggesting turned, turned petal. Here. Here's another one hand painting. Maybe it's really at some of the red here. Different than in the flower, but a bit and something in the statements. And see all bleeding here. Totally different from our reference. Still kind of beautiful. 6. Painting Peonies - Leaves and Finishing Touches: So it's all crammed to this corner. Can cool it some more later on here. And let's go to the, to the leaves. And so from this pink one pill box through small in this one can add some more later on, will just get these stems, maybe some read also in this one. And I think I really need to add some more to the to the fluffy one in the middle before it can go on. And let's bring it to the one we just painted. So you see, I did now pencil sketch beforehand. And so there's some some odd places where it's not all adding up and looking like in the picture, but I'm trying to, to make it right by painting. While I paint darker here. So darker behind petal of the other one. Maybe have even some, some high up just to give it a bit more of weight. And this painting, just stop for a moment. Assess my painting. Where are we? Maybe some more of my purple tone in hand, which is more well, mahogany. See everything where we did this stern leaf, this is already bled. Can we try now around? Maybe take some pink. Some of this really bright, bright one. Really much thicker consistency than my deck. Let's see how to add the slip. Still. Staying loose in my In my wrist with my brush. Just adding a little bit of more definition, just detail, just tiny details in this. Those painting. Always trying to make it, make it work in a way. Now we have all this pink. Why not add some more up here to let it travel across the painting soon. There's also this churned one hair. Also chunk leaf. Okay. So more green here, definition. Some doing, hey, you know, I'm jumping around my painting now. Having a look, we're not might need a bit more. Still needs quite, quite a bit more. But it's also good to have these really bright places, lots of contrast and then have something, something lighter here. So what is this doing here? Maybe a bit weather vanes are, but you don't want to do this one. So it's kinda see what it's all about this. And even though this is white, CRM, like it's reflecting the light and sometimes we dark places if you leave them white, also suggests that they actually white. So it's like they haven't been around. So let's come to the leap SIL some Django green edit here. So a little bit of purple on my branch, which is nice, can also use some more like red hair because it's also a bit read. And they also have a bit of a surrealistic field is opinions. One turns here, small red and green, purple. And this one is coming from here. So let it be here. Maybe to change. Then this might come here. Ok, this area is still really empty. And it has this in the back. And as I like this color. And just doing some of these little speed lines. Here too, to fill the space. So looking at the reference, but then I was painting it freely across the page. So then you have a bit more happening in this place and maybe also some, some Django pink just for little variation in tone. Darker. This is just suggestive here. Can also stay like this. In my opinion. Yeah. This is empty or not add some more here. And maybe as it's all this jade and jumbo green, take some more of this, more. All of green and put some here so it can repeat across the page something else for them. For the eye to look at, even though it's not in the painting, in the original one, we just add it. Okay. So again, let's have a look here. This is quite empty up here. And you see our painting is different from this. One. Could have painted these bigger here actually. So c it now but not changing it later on, they would be really odd. I mean, I'm just adding some some leaves here. And they're growing. It's becoming more of its own and where it's meeting. Maybe take some more jungle green. Put it as if it would be here behind the flower. Also here. And also these tips are darker. At also some here. Some Dhaka has those kind of leaves and maybe also some sum here just to, to repeat them. Have them also here in the painting. Maybe even 01:00 PM in the color. Ok. Let's have a look. Let's just have a look. What does this painting tell me? Where does it want? Some more? Work? Somewhat. Steadying. Yep. Just clean my brush and using it for some more here. And yeah, I guess still roots here in Poland area. Some work, so it seems quite dry. Some taking maybe an orange with some contract, I can find it. Let's see how this will behave. A bit different. Some padding, some hair, maybe also some some here would ever registered in some places. And what about the year this was six called bled Herr. Good. So we have this vein sea lions. They're not sure whether we should have done some places who would just try some, take some some darker red here. We can look at a few episodes later on. The slip here kind of worked just in a couple of places. It will dry differently in many ways. Even here. Some more detail about this one. Don't wanna mess it up with too many strange colors here. We're still kind of a shift. This highlight here was not even planned. Just take, oh, that's just really thick paint here, the pink pit here. And just playing around. Playing. Just plain fun here. Painting the rat. And he said, well look, have a look. We come back with some little bit of red also here. And here. And as we retain, why not at the center in here. So we have it also in this pink color here. Just lead and I think I'll just leave it like this now. Thank you, Jane Lauryn, I hope you don't mind me painting this kind of interpretation. 7. Painting Roses - Focal Flowers: Let's paint roses. Now here we have a very fine example of roses by Elizabeth twining. And yet it's one of a monster pieces I think. And it's really complex. Lots of flowers behind, tucked behind and front. It can be overwhelming. But we're just gonna take it step-by-step and make it loose, make it fun. See where this will take us putting this again to the side. And I'm starting with this one here in the middle. The pink one. Taking my brush and watching my passion. I still have lots of pinky on my palate. So I can just use this. Okay, we have this flower here. Need to adjust my lot, my light a bit OK. So probably I'll just start. Just start. Starting is often the most difficult thing. Okay. I will not be able to paint every petal the way she did. So I will just do my brushstrokes. Paying attention to light and dark and to the overall placement and shape of the of the petals. But I often get confused. Don't remember it. My here, am I here? And yeah. Maybe also at some pigment that again, some some water to make it more flowing. Like this side. Just again. Doing it it loosely. You hear this from me all the time. I'm not an exact painter and I don't stress over it and just paint. And this was already a really big rows if you see what's all coming down here. Its very base. So beautiful. She has this purple tones here. Base stock. So very painterly. This arose. So I've lost my trick. Where is okay? I know that this is the center. So maybe we'll just see that I add some more. My dark red has still have here. And then it's tucked behind and adding some base. So I am leaving this those and R3 again. But I really do like this one here. Just touching him. Okay. I'm just starting, let's see whether I will add some more later on. They have these beautiful lips here, turning leaves. So I can't leave all this white here in the first space. Some people can go in with a wide garage or white acrylic after this. But I might save this for another class and stayed totally with watercolor here. Yes, because this is our reference and we just make our own rose. He's always thinking, the people who painted this in the first place. Why not to get a little bit of violent down a bit adding meeting. And as we have it, we can actually use it also in this very flamboyant. So the rows, so the PEA string, some strokes here. Very bold way. And really dark here. So more red. I don't want to keep this flamboyant feel of that one. This may be with some texture he left and not painting every, every petal align this beautiful bleed. There's one coming down here. Let's beat those. Let's be, let's be brave. Let's be modern. Ok. Be also a good time to add a bit of this stem. And really developed a liking for the Django green. Even though this is a bit more subdued. I'm just adding it here. Also some green bits. Alright, so touching. For the moment, we'll do see beauty of watercolor. What happens here? Then we have as a contrast, this very light one. But maybe we should do this one. It will be around here. So stamens or green firstname queen to get like the understanding where this would sit. And then I'm adding my first round have stamens, pollen. It also plead in small and this oval shape you see, cuz it seen from that angle. And then it's a white flower. You see temperature, the paint or white flour, there's good, there's gray areas and let's see what happens if we just take the wet brush and had it come here. Little bit of bleeding. Don't have any blue, grayish tone here on my palate. So small green. Here is the good thing about my palette that always flight. They're like so hard to make such a gray. Just took behind starker. Coming here in this direction. Some darker here. Maybe just take some purple here. Commute. Purple corresponds a bit with them. Painting with a flow we have here. And airy and breezy. Flower. Rose. What more can we add? Maybe? Quick like it when it's so, so every so nice contrast to what's happening here. Some more. Polygon can bleed in here, smaller than in the picture. But that'll be Lexis. Okay? And then there's a red one. And show whether I want to do it and just try some, some gray and you can always add things, you can emit things. See your painting. Take some olive green pleadings happening. So this would be probably attached, kind of here, or maybe more here. Then we have the leaves, usually also have this in the other class. They come in groups of 3s or 5s. This is a fine example. My flower is quite big and there's some green sprinkles. So leave them. So one side is dark and one is on the slider. We can try to make this one is even tucked behind him. It's a couple to the green two, nu, two down a bit, but it also becomes a relative. This is paint. So if you add a little bit of color, you used kind of ties it together nicely, even if you wouldn't see it or think about it in a, in a rational way. Okay? And this is, you're more spiky one and some of the shade still here. And why not take some white one? I won't do the berries, I guess. Can we really 9's not doing them today. Just some some light leaves suddenly yellow light and playful. And then yeah, just at the red one here, we have some red here. Small peak now is very thick from the tube. Could use it. Can I have this on my brush and not the yellow? So let's just take number ten for the yellow. And I would just add it here. Again, I'd like to start with the inner workings of a flower. And he is nicer because it's not in one line and one line. Now, let's see how this will look later on. So green, if you just look closely, you can actually see what is there. Something green or even darker? Ownership. Okay. Just some of this drama to it. If it was tucked behind, just adding it as a little, this little fun drops of color. And you also have some of the dark here mixed with blacks. Just put some in the middle, is just served as my inspiration. That's flower. But then it ended up a bit in a different way than in the original sum. I'm holding one painting with the other two. And this could be more. 8. Painting Roses - Secondary Flowers and Leaves: What about some dark green? Now here, this is just a nice loose contrast to this flower. Though, maybe a bit of purple. I don't want to ruin these bleeds HIV. Then I'm doing it. But I'm leaving them and other places. So just a bit of pitiful, one tiny bit of definition. Tiny. Ok. And this rose needs some, some little bit of detail, but this I just like, as it is, color is dumb. The main star does its thing, lob it. Good. So maybe some painting. I'll just put this to the side now. Also would leave. So I'm not forcing too much here in too much detail. Just a bit as the painting's quite loose. And the flowers. And too much also kind of abstracting them. So we can add some more hand would be like this here. So if they're behind, okay. Just leave them like this for the moment. And there is more stuff, of course behind this rows. And I would just add a bit of suggested greenery here. And also some, some stems that might come here and you can still merging. Just a lush 19th century English God. Okay, also this splitting. And i like, so probably there's not enough space for that row CEO, again, a Waitrose. But we could just let it fall of the page is also an element of style, starting with the sentence. So I will also make it very, very loose. Like this is very dark. Maybe I would like to have it bit greener on, maybe blue. Okay, though. Until we take, took us is very bright, but can download a bit. What I have here on the palette and the block. Some status. Now I'm getting messy. Let's clean up to stay concentrated. Very concentrated color. So just suggestive petals, not even really painting it. Touch a kiss to the page. Yes, we have so much purple. Maybe also putting some in here just for fun. So Cynon really abstracting it. The painting we have and what we, what I do with it. Please also paint as loose, as realistic as as you would like to do it. Yes, it's really wet still. Let's wait. Sometimes it just count. Can't wait. So we probably will add another red one here and a bit of fluffiness. I would like that. And let's start with the drama here. Yeah, this was middle of 19th century. And just imagine how many more, hundreds, thousands rows have been cultivated since then. Especially in England, English roses. And already this is tow, lush and beautiful. So this will, this will be challenged again. I'm just doing strokes, just very loosely. How did she do it? How did she do it? Watercolors, squash, and also imagine, are there, they didn't have those art supplies we have today. So many shades of colors, so many brands, so many also like coming caught official ones that just had the natural dyes and created this. No talking so much and trying to concentrate and get it kind of we can't even see right. But but okay. I just wanted to look okay. To do it a bit of justice. Now that's staying very, very loose here. That's also on the on the purple side down here than on the red side. Just, just be Pike. And once it's also flowy, you can also add now is still wet, this leaf here. Also tip to pit with the Red, Green. Okay, so we have this stage here. Let's see what now. Probably this will need a little more detail here than I wanted to do fluffiness quite a, quite a full page here today, this one. And make it even for any gets filled here. If I can say I am not a minimalist and it comes to flowers, how can this be? Very wet? Okay. And I have the experience that when I start with a stems, I will never arrive at them. At the flower. I'll start with a flower and smaller pinkish tone. We have pink and I flew drawn to make it a bit purple. Just a bit. So I'm just also just do this kind of little bit. Epsilon o, very much abstracted flower. And we will some pink to have this merit. That's totally different from the one he had just serves me as an inspiration. And I will also add the stem now and let it totally bleed in all directions to have this really lose and dreamy area here that also kind of merges into the background. Almost like an like hazy like if you wanted to see it, see it when it's out of focus. Photograph. So some days I like more detail. Not very much more, but a bit more but now and make it really easy and light. And there's so much more happening. You have all those buds here. You have the berries, the small stuff, you have different leaves, you have so much. To draw your inspiration for my religious. Take the main elements and just please make it right for you. What catches your attention? What you would like to, to focus more on while painting. Make it your own. You know, this is just a starting point that can be so many styles and artists and just take what speaks to you and paint how you like to paint, explore that and then find out and and make it your own. Good. Yeah. Just little fluffy cotton ball. Yeah. And yeah, I haven't added actually any any pods here, any buds? And I do this, I don't know. I just do some leaves first. They speak to me. So have so much to choose from from this painting. So you can just make a really beautiful follow one of your own liking. I'm still thinking, but where will I add them? So there's already so much, so much happening here. Religious bleeding out, but it's okay. It's okay. I just leave it like this. And, you know, I thought of adding more detail to this area. But if I would add so much, this would be in more detail and the rest is so lose. Not quite sure. So I'm just thinking, finally do this. Now it blends quite nicely with the rest of the painting. And as I nearly always paint bugs, maybe I shouldn't do it today just BY just leave it as it is. And say, thank you very much, Elizabeth, twice earnings for your beautiful inspiration. And here's my interpretation. 9. Painting Poppies - Focal Flowers: Let's paint puppies. Now, I've chosen this reference picture by Jane Loudon and also this one by Jane Loudon, and then also this one by twining. And we will do a brave thing and put them altogether in one painting, elements, taking elements from there and there and put it together and see how this will go. So we have all the artistic license and freedom to do this. And I think we'll start with the red one. So yeah, it's kind of easy because we used to these red ones and then we'll see how the painting develop and have foreign of course. So I'm taking my brush and watching it and taking some red here. And maybe I should add a little bit of cherry to. And maybe also some. Like in the last class. Puppies are seemingly easy in a way. And then again, they are kind of difficult for their paper like texture and the crumpled texture and how the light reflects. And we'll do our modern poppy. So this one is kind of an oval and will also put it right here. This is very pink actually doing these movements here. Side of the brush as we did before. And already this is not becoming really overall kind of jagged here. Drag it. And there's highlights. The top, it's darker in the middle. So I think we can just add this later on and just putting some, some wet here for interested as green. And then the statements in the middle, quite black. And we can do this really for, for drama and let it bleed. Where is my, my black? So we will just exaggerate that. Not like in the picture, but often they also have this really, really dark centers that shine through. So let's see what happens if features touch here. So this will lead even more after awhile. Not too bad actually. And we are building more here, which is understandable because we just added water here. And maybe we will depth at which we also did in the last class to achieve this is texture a bit. You can also try to use it here where there is more, more light in the painting. The reference, see how this will dry after a while. This can add quite a nice touch. A good cleaning my brush, adding a bit of a center green one. Also just suggesting it here. Maybe it will also bleed a bit with the rest of k. Now for the time being. So here's still some, some black left. Why should it be red here? Hump. Putting this equation. And we can already add a stem at this moment. So, so looking very greens, I'm taking my Django Green and just doing one of my favorite things. These puppies stems common in different directions and often have interesting angles. One, and maybe just add a bit of lighter green on the other side. So C1 is in shade, the light, too thick. So we don't want to look at chunky. Just a BIBD. Okay. And while we're at it, why not try this one? This is coming out of that and going this way. Okay. Here. Okay. Just doing it like this. And what if we'll add the red now? Probably bleeding happening. But so bleeding happening and we just let it be like this. Okay. Then already we can see leaves, we could add them later, we connect them. Now. I'll add some now, maybe this will bring us into trouble with placing the other flowers. Put them, I feel like some olive green. And from this one, S1, leave clothing here, one here, which is doing this again. But loosely with the jagged edges. And leaving some space for later on. You can always add to its own, uh, doing this right now. Or MI. Again, changing my mind painting, seeing how it goes. And then I'm deciding what to do or not to do. So this big leaf, I will not do. No. Interesting enough. This is similar one and the other painting. So Jen Loudon, like this positioning and both of her. Papi said, okay, we have this one. So I think another red one is calling us here. Maybe not, maybe not this one here. What else do we have? Yeah. Why not take this one by Elizabeth twining. So we see this from home that form an angle from behind. Take some position. It's a bit higher here. And as tropes. And then you start middle and also Greene. And I just did a little bit here. Maybe you take a picture of my dark mixture and have a pet better. They name here, which will and bleed in anyways. So I'm leaving these white here. So it's not in the original, but it's good. Nutshell, one blob and it's a bit like the light reflecting like this here. This is quite a million injury of, of leaves and steps, which is, which will just making one app and see how this will work together later on with the rest. Because this was kind of hidden in here. Okay, so this is that, and maybe also at one of these pots, little bit peeking out him. How k. So not bad for a start. We have those two. What could be also nice to add? So I think this is interesting and this is a funny one, isn't it? Those of us frilly stuff inside. Have you ever seen a popular like this? This one also is here and there. Let's do, I can decide shoulder this one or the frilly one. Maybe let's do both. But yeah, I think I'll put this one here. And then the frilly one. Like it is in the picture. This is quite, quite funny, isn't it? Okay. So for this one, we'll edit around here. You see making my choices as I go. It's white, but then it's not white. You have all the purple here. And do this with them like a whitewash here. Maybe some purple already at this stage, but it's very saturated. And it's also going to change petal. Okay, then we have them also turned here. So we have green in the middle. We have a purple cell that start with the purple, then quite a dark one of the pellet, it's light. Let's take some higher slump, blue. Just a bit darker than the violet I have. And also very concentrated. So maybe just tell it a bit with the red I have here. And then just go, OK, what happens now? Who? Clearly our modern, modern technique here. Just letting it, it, do it here and it will lead some more. Course. It's maybe even touch a bit here of the edges. Not bad, not bad. And it could be a mistake to add the green at the stage, but I'll just go for it. Can also become a little bit muddy as purple and yellow are quite complimentary. And they agreed is also, the screen is also very yellow. Okay, just leave it at this for the moment. Later on we can, can decide what to do. M, this will just, this will come out here. Like this. Maybe even touching. Let's have some more color bleeds. And what kind of leave could we add? These here, down here, this here. Why not make something that goes a bit up here? And make it like this, the jagged edges. Keeping it here. So we have this one at this stage. I made that up. Also. There is a nice one here. Up there. Maybe we can track it behind. And I'm still quite challenged by the one up here. So I'll just try this. No. Of course not as freely as it is. But yeah, we'll see this kind of a gradient Center. And I would just do it kind of blew, I guess. I still have some turquoise on my palette. I'm taking some Slate blue also. Could not be a nice touch, but still putting it the way. I just want to verify to wash off this and try out the grain. Just getting better. So I just use a sheet of paper. Try out what, what it could look like so often and just let, letting it surprised me on the page. But here I would like to have a little bit more control. Trying, starting with this, these outer petals here. Already too big and comparison nodes inside. And then just strictly. And maybe also take a little bit of purple because it's darker here on its very purpose to have this color going up to so in this direction. Really must be on the look out next spring and see whether this kind of floppy somewhere. Sometimes some mix water. And an interesting flower. And this has a really thick stem. I don't want to paint it so thick. Put look a bit strange. Come here pretending it's going here. And interestingly, Pinot like this one just, just making it up the way it could look. Here. Doesn't have this kind of bend. I want append knots quite pick k. So where are we with our painting? Good to step back once in a while, have a look. And I think I want some more black here to make it look a bit more dramatic. And now we could add these statements. Yes. And why not? A stem coming here? Like this one? Inspired by it? Leaves, can add some at a later point. And then we have yellow here, we have this up here, bleeding. What could also be nice? What talks to me in the picture. 10. Painting Poppies - Secondary Flowers and Leaves: So what could be nice in this one? So what speaks to me as again, this little petty code of a, of a flower. I have not seen something like this. Maybe I should go to Botanical Garden in spring. Time. Putting this here then sounds very fairly. How can we suggest that maybe I will gloriously fail. Better, make it really light? It goes something like this. Just whisper here and the back. Say different from, from what you see in the original, but it adds a nice touch to it and find its sum something. Just some young maybe ham. And then I'll give this one a stem. And maybe also leave, port or leaf. Maybe leave. This is really summary. So much. Looking forward to seeing all these topics blooming. Yes. Yes, yes, yes. There's this little space here, but it's it's interesting to have negative space also. Maybe not too much. Okay? Yellow, I think we should add at yellow at this stage here. And what about just doing this little yellow friend here for a little pop of color. Nothing too fancy. And yes. Let's also do it like this. Just to let it bleed out. Also take some, some green, then maybe some orange here. Dhs for little, little touch here of color. It's also give it a stern. So this would be like this, but I rather like this. And also it may be just had some of the CIA and belief. Okay. Having another look here. Having another look. So always good to access it at some points. And while this is nice, I would still like to have it a bit more depth. Just a bit. These lines here, some place are still leading. Cou, okay? So that's like this, that's like this. We have this here. Now we didn't do this one and I think we will not be able to add it here. Will be two crammed. The composition of pink leaf. How does this come about? But just leave it to maybe AS this space here. I'm not sure what to do with it. I'll just wait a moment, but just take some some yellow up here. And I'm just doing another pod that's coming out here. Some green and then some of this yellow on top. I could bloom soon. Okay. Should touch. Seal motion. It's not so easy. Can look a bit strange. This one here coming up. So P2 of nice diagonal, maybe even a bit of orange up here. Let It Bleed. And I feel like I should add leave here. Anything that could help me. And I'm just not come help me. I just stood freestyle. And why not totaled more yellow here. Why not? And maybe we should have like another two this biogas going up here. But what would it like? You'd like to have one coming down here? Yes. That's what I'm gonna do. Next to it. My yellows, green now, Let's take some yellow. The red color light. Never lets me down here kind of the same. No. Maybe we should make them a bit different by just adding another angle to it. Okay. Light little puppy painting, mate. Yeah, well, the reference of three paintings or little graphs. I won't add any more details on the leaves and the flowers. Just leave it as this little practice page. 11. Sketchbook Flip Through: As a little extra inspiration, I would like to show you some pages in my sketchbook of my recent fan phase of Jane Loudon and a little bit twining. And here we go. So this is the roses, actually, it's where it all started. Also the same inspiration like we've painted in the, in the class. And we have some poppy C or this is all by Elizabeth twining inspired some Morning Glory. Plants and flowers and high viscous. Then some, some foliage. You might recognize this one. So that's where the idea started for the class. That's Jane Loudon, tulips, lilies, some more poppies, and more puppies. Recognized this one here. And camellia. Let's see what you can paint. I'm so looking forward to seeing your beautiful floral compositions. 12. Thank you!: Thank you very much for taking my class. I hope you'll take just as much fun as me painting these lose more than pennies and poppies and roses. And I just can't wait to see all your beautiful bouquets blooming in the class gallery, all in your style. And this more classes of me. So if you haven't taken them, Have a look at Skill Share and this new classes coming and I just can't wait to continue my floral painting journey with you, the flow extravaganza. Until then, have a nice day and see you soon. Bye.