Loose Watercolor Orchids | Cara Rosalie Olsen | Skillshare

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

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

Lessons in This Class

12 Lessons (2h 8m)
    • 1. Intro

      0:39
    • 2. Supplies

      2:42
    • 3. A Discussion About Subject Matter

      5:20
    • 4. Swatching

      9:07
    • 5. Gestural Structure

      12:37
    • 6. Paint on Petal/Wet-into-Wet

      16:33
    • 7. Lifting

      5:28
    • 8. Finishing The Center Part 1

      3:45
    • 9. Finishing The Center Part 2

      16:53
    • 10. Angle

      0:49
    • 11. Class Project Part 1

      27:43
    • 12. Class Project Part 2

      26:20
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About This Class

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Hello, Creative Friend and welcome back to class! Today we are studying the complexity and intricacy of orchids, and finding a way to capture their essence in a loose, gestural way. I've picked a beautiful pink spotted orchid for us! After taking a few moments to gather a few photos to serve as inspiration, we'll dive into understanding the structure of this flower so it makes sense to us, providing a joyous and peaceful process.

Supplies

Canson 140 lb Watercolor Paper

White Gouache

Watercolors:

Daniel Smith: Sepia, Rose of Ultramarine

Winsor and Newton: Sap Green, Potters Pink, Yellow Ochre

Round Brushes, size 6 and 8, (optional size 4 Filbert)

Palette or Salad Plate

Cup of Water

Paper Towel to blot

A Discussion About Subject Matter:

Here we'll take a few moments to discuss the orchid, how to notice details and shapes and begin the process of simplifying something that can at first seem complicated.

Swatching

Next, we'll put the colors we'll be using on paper so we can see how they all work together to form our palette.

Gestural Structure

One of my favorite ways to add detail work to flowers is through a technique referred to as "Gestural Strokes." We'll talk about what this means and how to utilize this technique to our advantage.

Paint on Petal/Wet-into-Wet

We'll move into Wet-into-Wet technique next, laying down a coat of water on our petals and adding watercolor for an ethereal effect.

Lifting

To pull out a bit of the color and serve as a light source, we'll use a technique called "Lifting" to enhance our flower petals.

Finishing The Center

Now we get to finish off our flower by adding the speckles and spots that will bring our orchids to life!

Finishing the Center Part II

Concluding our flowers and study before we head into the Class Project.

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

Related Skills

Fine Art Creative

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Transcripts

1. Intro: Hello and welcome back to class. So glad to have you here today. We have a fun class cooked up. Have you ever tried to paint loose orchids and just felt entirely overwhelmed by the complicated structure. I have to. And so I have created a class that I'm hoping gives us room to play, observe, explore, and create, and do it without the pressure of having to get everything just right in perfect. This is going to be an exploration of wonder and be holding the beauty of this flower. So grab your supplies, get yourself a cup of coffee, and let's get started. 2. Supplies: Jumping into our supply list real briefly. Nothing new here or groundbreaking. We're gonna be working with the tried and true supplies that I love. We're gonna do cancel out a 140 pound cold press paper that we're gonna do a variety of paints, most of which belong to the Winsor Newton family, but I do have a few Daniel Smith mixed in there. So we start over here. This is actually squash. This is winter Newton designer glass, which is one of my favorites. So we're gonna be using a little bit of that. We have the Codman yellow ochre. We have Daniel Smith, SEP IA, we have Winsor Newton potters pink. And then we have daniel Smith, Roosevelt Jr. marine, and then Winsor Newton Sap Green. So pretty good variety of colors. Again, like our last class with our Frasier. If you've already taken that one, we're gonna be using a variety of pings and different consistencies so that we can really build up the layers of the pinks that we see in our flowers. So that's paint. Grab yourself a salad plate or a pallet would love for you to have a variety of round brushes in size 68. Actually, these are tens, I believe 610, but if aids all you would call you have, that's great too. And then I also, if you have it on hand, I would love for you to have hilbert brush. This one is from Princeton, which is my favorite preferred brush company. This is going to be a great tool for us to lift some of the color out of the petals is going to be, it's not a new technique, I taught it before, but it'll be kind of a refresher on how to do this technique and flowers when you're trying to show some of the transparency within the petals. So if you don't have a Hilbert brush, no big deal around brush will suffice. But if you have it, that would be great. And then also make sure you have a paper towel to block a cup of water. And then last but not least, if you are not going to be painting from I'm a live reference. I do suggest you take a few minutes, sit on the web or your iPad or your phone and just grab a few inspiring photos of orchids. This is really going to help you as you pinpoint the details and study the structure, which is basically going to make up our beautiful stem here. So I'll show you a little bit more close up as we move along through our project, but do that and it's going to definitely benefit the whole process and just the experience of it. So all right, so that's supplies and let's move on. 3. A Discussion About Subject Matter: Alright, I am going to jump out at you for a moment because I think the discussion or, or rather the subject merits a discussion. So if you feel like you are just like gung-ho, ready to go, wanna get into it, feel free. You can fast forward. However, this is not gratuitous information. It is part of my process. It's part of what makes me an artist. And with each of my classes, I mean to dig a little bit deeper into share in unveil a little bit more of, of who I am and what has sort of contributed to my, my style, my branding. So I want to share that with you today. So when we are painting a flower, especially a flower that is so immediately identifiable as an Oregon. Everybody, for the most part, if you are at all familiar with followers, would see these and no, that isn't working right away. It can be a struggle for artists to then look at something like this and then think, how am I going to translate this on paper? Unless you are a botanical artist, meaning you intend to capture as many details and painted in the strongest likeness is possible. You are. If you are that artists, then, then your works pretty much already done for you. You're looking at it and you're looking at your paper a 1000 times in between your brushstrokes and your aim is to just put it down on paper exactly as it is in nature. And that's a very diligent process, something that I myself just found very restraining. I have a lot of admiration and respect for that, but it hasn't really worked for me as an artist. So I consider myself a loose floral artists, meaning when I see a flower and I look at it and I study it and I observe it. What I am trying to do. And I guess if I were to say, if you choose to accept this mission, your responsibility therefore is to look at the flower and then figure out what exactly you want to say. So our goal here is not to paint every pedal the way that it is, the way that we see it. And to capture every little vein, every little splotch, every curve, every transparent moment within the petals is to look at the whole and to decide how do we want to say this on paper with paint. And so I make mention of those because as we move through the content, I'm not going to be married. I always use that word married because in my term in my world, you know, when you're married to something that's forever and there's no breaking it. But I am not going to be married to really any facet other than the fact that I'm going to let these flowers serve as the inspiration behind what it is that I'm going to paint today. And I would hope that that would be your mindset as well. I want there to be freedom. I want you to come to the page excited and hopeful and curious. Please stay curious because when you were trying to capture something exactly as it is, there's just this immediate anxiety of it's so beautiful. There's no way I'm going to be able to do it justice. And there's a part of that that's true. Nature is her own artist. And it is not the job of the artist to paint things exactly as the art. They aren't. Even a portrait. Artists will tell you that when they look at their subject, that the person, they are not painting that person as they see them. They are going one step further. They're going deeper and they're pulling out something within that person's essence and that Seoul and they're translating that onto the paper. So there's something in the eyes and the lips that maybe you can't even see when you look at that person. But then the artist can, can see that and reveal that with, with the strokes or with whatever medium he or she is using. So I wanted to have that discussion with you so that you would know where I stand and my philosophy, and that you have permission to study something and to make it your own. And I always talk about that, about how inspiration versus copying. And I don't even want to copy nature because I feel like she said at first. And so it's our job to just look at what we've been given and what do we want to say with it. So what we're gonna do, whether you're going to be following along with my little or Goode stem here. Or if you're going to be using your own reference pictures, we're going to look, we're gonna study. And then we're going to kind of put it off to the side. And we're going to draw from intuition or paint from intuition rather. And we're going to enjoy the process that has all my classes are focused on is enjoying the process. Yes, I want to make you a stronger, more skilled and honed in artists, but I also want you to figure out how to enjoy this. So let's do that. Alright, thank you for allowing me a few moments to put that out into the world. I hope it is beneficial to you. If not, I apologize on your check is in the mail. 4. Swatching: The first thing we're going to do as always, is to build our color palette. So I have my salad plate here, and I am going to show you the proper consistencies and color combinations so that we are set up for success. I like to do this before I do anything, a lot of artists will, will make the colors as they move through the different parts of the flower. But I like to have it all ready so that if intuition strikes, I can just quickly jump into my pile here and I don't have to kind of lose the mood and the moment. So we're going to pick up our rows of ultramarine and actually have it already down. So I'm not going to use that one. And then we also are going to use, I think this is a new colour to our classes. This is Potter's pink. This is not my favorite color. It will rather, I should say it is one of my favorite colors. However, the consistency is very fickle. If you've ever worked with this color. It's interesting because you could put a giant blob on your plate. And then when you go to put it on the paper, it's barely going to show up. It has a, just a funny combination of elements that just make it not a very forceful color, which can be nice. However, the texture, the grain that it leaves is a really pretty effect on the flowers. So when I use this color and this is the professional color, by the way, I always mix it with something. I do not like the way that it is. Stand alone, but I'm going to show you what it looks like stand-alone anyway so you can see it and form your own opinions. This is one of my favorite colors, and Daniel Smith and is such a rich color that is the perfect, perfect coupling here. So go ahead and grab one of your brushes. I'm gonna use my number ten. And I doubt I dab this on probably like 30 minutes ago. I probably should have waited because takes me a moment, but it's still pretty soft. So I'm gonna go ahead and just get it nice and ready here. And I'm going to actually normally I would say like, you know, you don't need to mix it that thick, but because this color is so faint, I do suggest mixing it to cough syrup consistency. And I just want you to see what it looks like when it's freshly laid out on paper. So you can see it's a very pretty color, but then when it dries, it just kinda has some weird propensities. So now I'm going to mix it with a little bit of the rows of ultra marine. I really still want to take the little stem out here. So you can see, I really want that Potter's pink color because as you can see, it really is. It's the perfect color for our, for our organs. So I really want to lean on that color, but I want to have a very strong base going into the flour and the potters pink just does not hold up as well as I would like it to. So. Mix it with a little bit of the Roosevelt Treasury. And I also want you to have two consistencies for this. So we have our thick consistency here or cough syrup, and then we would have dry off and pick up a little bit more of the potters pink, we draw it out. And this is more of the broth consistency. And so we have different color values here. I like you having both of these so that we can add variety. You can see down here is darker and then as it works its way to the tip, it's lighter. So we can start with a little bit of this and then gradually move into that, or vice versa. And it just gives range within the entire flower structure. Even when flowers a quote unquote like single color, I will always add in additional colors to help draw it out. And this one actually has like tones of mob and tow rope and the Roosevelt for marine. So it's not a stretch here. Sometimes I really just kind of take it a little farther than it really is. But, you know, that's, that's the liberty that we can take as artists. So mix up the Rooseveltian marine. And then I'm going to plop in my potters paint here to kind of bring it back to that dusty rose that I'm looking for. This has more purple, which is not what I'm going for. So and you'll see the mixture IR. And so we'll have all three of these on our palate in building from them. So have your cough syrup consistency, your broth consistency, and then another in-between consistency. You can mix this up even thicker for some darker tones. However, I am going to be working pretty light with these because we're going to be adding some of these special details. And as we learned from our freezer class last time, I, it's really all about choosing moments within a flower. And my friend Chris, who hopefully issue will eventually watch this. As she pointed out, the last time I published a class, she said, You know, not every flower CAN BE Tina Turner, somebody's gotta be the backup dancer. And I just thought that is the most brilliant analogy I have heard because it's so true. You know, in nature, every flower is Tina Turner. I mean, they're all just so beautiful from whatever angle you look at it, you know, is there a rock star? But when you go to paint on paper, if you try and make every flower Tina Turner, it loses its pungent, loses its power. And so you have to let there be more subtle aspects within your painting in order to showcase the things that make it so special. So keep that in mind. Crystals kinda brilliant. If you don't follow her already. She's on Instagram as sweet season. And I will put a little mention in the class as well. So you can, you can fall. I think it's sweet, sees an arts. I'll get I'll get the full handles so you can go check her and her workout. She's an amazing teacher on skill shares. Well, OK, so we have our colors. The only other thing that you may wanna do, if you want to have four colors, not necessary, but you could mix this up to broth consistency as well and have another lighter colors. So you can kinda see the range here. The next color that we're going to be drawing out is from the middle of these flowers. So you can see that there are some really pretty yellow tones in here and there's some yellow within the middle as well. It's just going to be an ancillary color. It's not going to be any sort of focal, but we're gonna include it because it really has a, some pretty moments within it. So I'm going to dip into my yellow ochre. Bring you back over here. Yellow ochre. And then I have a little bit of the API here just to kind of turn it brown. And go ahead and make sure you mix up enough of this to last you for the entire flower. I mean, you can always mix up more and not a big deal, but I like to do the work up front so that it's not so much on the backend. And then as I mentioned, we're going to dip into our kwashiorkor are white. And we're going to lighten this up. You can kinda see it. It's the same sort of effect as Kremer into coffee. I love what Gosh. It is such a wonderful asset to have K. So this is still too dark, but just to show you what that would look like if you were to use it at full power. We're going to dilute it so that it's more like that. So add your water, get it to broth consistency. And this is gonna go in the middle of the flower. Little wet into wet action. Ok, so that's that. And then the only other color we won't mix that up right now is Sap Green, that which will be for our stem. And then we're going to mix up a really thick version of the rows of ultra Marine and a sepia to just really beautiful detail work within the middle of these flowers here. So we'll do that at the time. I've shown how to do that in several classes. So nothing new or novel there. But that's pretty much the majority of that. Right? So switching is covered. Let's move on to the next portion. 5. Gestural Structure: So a lot of the time when I'm painting, I really don't take a whole lot of time to study the structure. I kinda like to go in sort of green and fresh and just see what happens as I put my brush on the page. However, with a flower like the Oregon, where it's a very simple structure with there's a little bug on my swatch. Listen dude, you're interrupting my class. Where it's a very calm erm scoop, excuse me, a simple flower with some complicated aspects to it. I'd like to take a few moments and just get really loose with some gestural structure building. This really helps me. It just wraps my brain around the shape that I'm trying to create. So like if you were to look at, and this is going to be a little tricky because when I'm painting this, I'm going to be painting it as though I'm looking at it like straight up and down and again in a vase. But in order for me to make sure that you can see what I'm looking at. I'm going to be painting it with it laying flat. So it's going to be a little bit different when we go to do our class project together and we're painting it, you know, more of a I, a portrait style versus landscape. But this should hopefully just kinda give you an idea of this, the exercise portion of, of what I'm trying to show you here. So and if you were to like look at this flower, you see that it has a almost like a gum drop shape. You know, it's it's shorter and less wide up here and then it widens out down here. And then with this one, you can see that it's kind of up on its side. And so it's creating a little bit more of a triangular shape. So I like to wrap my head around that first and just see, okay, here's the shapes and working with gum drop triangular, this sort of has like a claw feel and I use words like that to just kinda help my brain grasp something that's really complicated. Flower structure can be very complicating and overwhelming. So in order to alleviate some of that, I use those very generic comparisons to just scoop membrane along reminder that it's, it's okay, it's in a safe place. So I'm looking at that flower. And all I'm gonna do here is I'm gonna take my numbered ten brush and I dipped it into some Roosevelt term ranges street, Roosevelt for Marine. I'm not really worrying about color here. I just want to get the shape down and I'm just going to practice some, some, some structuring. So let's go ahead and look at the middle of this flower. You can see it has some really pretty ruffling along the edges. And that's going to be something that I'm going to attempt to draw out that seems important to me if if you will. And I as I said, as we were in our last little portion, we were talking about looking at a subject and then figuring out what is it that we want to say with this? And so for me, the first thing that jumps out when I look at this flower are these beautiful, beautiful splotches and stained edges here. And so I want to include that, which means I'm going to have to leave room. For some other aspects to just take acquired her role in the performance. And that's okay. And so thinking about that, thinking forward, I'm going to make sure that that's something I keep in mind as I practice these shapes is making sure that I get that the way that I want it. And then pedals structure, I'm going to be a little bit more loose. I'm gonna give myself more freedom to sort of break the rules of what I see exactly. So let's go ahead and look at that and just try and get this shape down on paper. Now it doesn't have to be exact. It's just a general idea of what it is, what it looks like. And I'll put that off to the side. And kind of looking at it from a bunch of different angles, but on its side here. So it kinda comes startup for year. I'll like that. Comes in, ruffles a little bit. And then it kinda comes up there, here and there, and a little bit more ruffled. Now this is very big. I'm drawing it big so that you can see it. But if I were to paint it this big when we go to paint it, I mean, you can see it in comparison to the pedals, the petals would literally have to go off the page in order to meet the proper dimensions and to keep everything within reason. So I just want to paint it big so that you can see. But when we go to paint it, it's going to be on a smaller scale. So keep that in mind as well. And then coming out from there, I see two pedals, Better kinda coming out at an angle. And then one that's at the top and then to wider ones down here. And I'm gonna kinda go quickly here because again, I'm not really trying to get it perfect. I just kinda want my brain to lock into what it is that I see. I'm going to kind of pause there. And it's not exact, Like I said, But it's just going to give me an idea of what I'm doing. Ok. So that's the general shape of this var right there. I'm gonna do that again a couple of times, just so that I can start to get familiar with what it is that I see. And when I go to just be looser and to draw out those things that I am, IDM is special and important. I'm not going to be like, Oh, but then, and this pedal, you know, it, it turns this way and this one turns that way and just get bogged down with the minutiae. So the next one that I see is a little bit more closed. So it also has a center that's coming at different angles. So here we have down here. Okay. So that one, like I said, it's going a little bit more close. It's on its side. And so I just want if I mean, obviously, it's not looking at exactly what I'm looking at because it's, I'm looking at it from a different angle. So if you have an orchid in front of you or if you are referring to a Inspiration photo, I just want you to take a few moments, look at what you see and just draw the general or excuse me, paint the general shape of what you see. Don't I feel like it needs to be exact or perfect is just to give you an idea of how it's laid out. So I'm gonna do another one here. It's kinda has a little bit more of the tubing and the center. So and I'm kind of clustering them together because I wanna see what it's gonna look like as they're all clustered together. Do another one. And as you can kinda see that this is the edge of it. This is where there would be lots of splashing and detail work along the edges. And this is where it's folded over, closing up here. Okay, let's do another one. Let's do ruffling here. And the little to Steph for my liking. Trying to give these petals a lot of movement and play. And this is where that beautiful splashing mark is. Let's do one more here at the top. And you can even see we're kinda like building a floral stem area, let's say it like this where the stem, it's kinda working its way up here. And then we could even finish up here. And organs don't have leaves, which I feel like is so sad. I love leaves that they had so much personality to any, any stock or, or stem or whatnot, but it doesn't seem correct to add them. So we will go ahead and leave that out as much as I would love to put them in there. So bureau to finish up here. You would start with compared to top. And this one's kinda funky because it has some overlapping work that you can't really get a feel for it until you're painting it. But again, it's just to give my brain and idea of, okay, here's the structure that I'm working with. Let's do one more, right? There exists ones like fully closed over, so that'll be fun and actually I'll do it down here where we have a little bit more room so you can actually see what it looks like. So this is where we would have our stem. See if I can actually get it in the frame. There we go. So let's take a look at this one right here. We have stem down here. And then we have this giant pedal. A little peekaboo happening right here. And again until we paint it and start adding some of the details. Its very, very rough because you have like some beautiful, you know, detailing work that makes it just kinda stand out right there. And then you move through here. And you move down here. And then there's a little tiny peekaboo of some of the centre here, which would be so pretty so you can kinda see how it's all gonna work together once we combine all of the different elements. But hopefully just looking at this, just looking at the structure of things gives you an idea. And you know what it's gonna look like on the page as we go to add in more details and, and embellishments. Okay. 6. Paint on Petal/Wet-into-Wet: Ok, so putting a little paint to our theory of those gestural, playful pedals. Let's go ahead and see what it's gonna look like when we begin to add some of those tones. So the first thing we're gonna do that again, I'm going to draw out the center of the flower. So that for me is like the focal piece. That's where the structure of the flower is originating to me. Whereas I feel like the Petals, we have room to just explore a little bit more playful. But that center does feel like pretty concrete to me. If something feels different to you, if you feel like there's different aspects of the flower that just stand out more and more intimate or personal, by all means, are completely given permission to pursue those. So this is just my take on this flower and I want to give you what I'm seeing. Okay, so here we go. Drawing out some of that ruffling, really trying to just be playful with the structure here. And then we have two main work. And then what we're gonna do with our other branch, which has the potters pink on it is we're going to brush up against this edge here and create a pedal and dip into our water. I'd like to outline the petals. I feel like doing that first just kinda gives me an idea of where things are going to come down here and continue that. Pick up a little bit more of the potters pink mixture and finish that off. And can see this is that Potter's pink, which just has some really pretty mob tones in it. But it's also going to provide this sort of grainy texture, which I think is super pretty. I'm using the Rooseveltian marine on this brush. So there's not quite as much of it on this one, just something to keep in mind. And then here, a little bit more riveting work. Come up here and dipping into that edge. And then we finish it off over here. And orchids really are a funny shape. They don't look funny when you see them in real life because everything's just so complex and beautiful. But, you know, you look at this and just think, wow, everything's just kinda really heard. And, you know, part of that is that I'm not capturing, you know, all of the embellishments and the details that make up this flower. But, you know, it just kind of has an arch look to it. So then I would take my number ten brush and dip into the Roosevelt Jr. marine again and just add a little bit of color here along the edges. A little bit more over here. Just to kind of give a little bit more of a defining mark of Where are the flowers extending? This part, we're going to be adding some really pretty darker aspects. So I don't want it to be too dark here or it's not going to pop out. So just kind of pick and choose. Look at your flower, see where things are a little bit darker or where things are a little bit lighter. One thing at a time, Once we're working in one fluid motion where we're adding in the yellow then will be needed to be a little bit more mindful of what exactly we're doing. But for right now, I really just, I just want you to get the idea of general shape to applying paint to it. So we'll do this a couple times just to sort of build up that foundation, that muscle memory. And then we we'll move into pulling an altogether. So let's do that again. And then this time what I'd like to do, I'd like you to have your number six brush handy and I'd like you to dip into that yellow ochre and sedia mixture with the Guassian and as well. So put that appears you can see what that looks like. Just waking it up, putting a little bit of the white back-end because I really want it to be a pale, pale, pale yellow. And I don't want it to look separate from the pink. Where, you know, if you look at the petals, there is this distinct white line that comes through. And we were going to experiment with that using the Hilbert brush to lift out some of the color. And we're just going to kind of see, I want you to kinda come on the adventure with me. I've used the method and I think that it has some pretty aspects to it, but it also feels a little bit more. I'm tethered and not quite as playful. So when we go to do our class project, we can, I want to give you all the options and possibilities and then you can decide, you know, I really liked that. It felt like that was very true to me and who I am as an artist or no, that was a little bit too much. I want to take out that step and just leave more room for play. So it'll be two, your discretion as the artist to decide. Ok. So now you have three brushes that you're working with. So let go ahead and put that number six off to the side. Have your Rosa Voltron marine mixed up with a little bit of the potters, pink, diluted. And then on your other brush, a little bit more of the potters pink versus more of the purple tone. Okay, so let's do, come down and do one of these little flowers down here. I'm going to leave some spaces here too, because not all of it has to be like totally all connected. So I love just even that, just the simplicity of it. I think it looks great. Kind of come up here. I don't know a little bit more. Then dip into that Potter's pink and go ahead and pick a side to come up to me to choose the top. And just kinda try and get playful here with the pedals not be to you. If you've seen my classes, you'll know that the slower I go, the more structured things look because you don't have that feel of just, you know, it flowing and all moving together. So when we go to put this all together in our class project, you'll see how it, I move with the brush and it's a little bit more inspiring than the slowed down version. We come up against this edge. And those petals are pretty dark. So I'm going to religious kinda use what I have on my brush to do the next one rather than dipping into RE, dipping into the pile. So again, that helps at the Tina Turner petals to shine. And then these are our backup dancers as Chris would say. And again, don't feel like you have to connect everything. He doesn't have to go, you know, it doesn't have to reach every moment. And if there are some areas that you just feel like and the shape of that is a little odd. Touched that up. But again, try and resist the urge to just poke it, everything. The magic really happens when we focus on the details and that becomes just very unimportant, even though in the beginning it can just seem like, Oh, that's so blah and basic. When you go to tie it all together and you add the details, you'll really see how it, it, it looks so beautiful because you've chosen not to like agitate things. Okay, so then this one kinda comes out here. And we have a really big pedal up here that kinda just looks really funky. Okay? So you can kinda see we have two different shapes here if you want, and you can dip back into that Roosevelt Jr. marine. Come around here, tighten up some areas where you want to showcase a little bit more of that ruffling. All you do is dip into the drier areas with your wet brush. But again, if this is too dark, what's going to happen when we go to add some of that really pretty ruffling and splotchy work is it's just not going to stand out. So I'm not gonna do a whole lot of that. I'm just going to show you basically what your options are. Now. Go ahead and pick up your number six brush and find your pedal that is most wet. And I want you to take this and kind of run it along the center and just dip in. Don't try and do too much structure here. But just kinda give it a little bit of a yellow tone. And you have to make sure it's still wet, like some of these are still dry. We're gonna do we're gonna do the whole motion again here and just kinda wanted you to see what it looks like on one pedal. But that's kind of the field that we're going forward a little bit darker on the outside. Okay, so this is if we were to just do it all together in one seamless motion. So here we have our paddle that was very nasally panel. And immediately putting the yellow in there. You can kind of see how the quicker you get to it. I think the better the fat D effect a little bit looser, not quite as tight. And then you can always touch up again here if you want there to be like certain moments where there's bleeds happening like this is a really pretty moment here. That's the potters pink, that texture and grain is merging into the yellow and it's just creating a really pretty moment here. So that that's more of really what I want us to focus on. That's what I want to emphasize. As, you know, we're working here is not getting the structure perfectly right. Because then we're going to miss out on all of this. This is really beautiful and I'll bring in a little bit closer so you can see it all. As I continued to work in these step-by-step motions. If you're too caught up on the shape, there's not gonna be enough mental space for you to let these sort of things happen because you just have too many steps in your mind. Your brain is trying to do too many things at once. So again, it's just to reinforce general shape and then give you a lot of room to just have these moments within your painting. So let's go ahead and do that again. And I'll bring you in a little bit closer so you can see. Let's start that whole process again, I'm gonna pick up with the same, same pedal. So as if, as if I were continuing to build it, I'm going to omit the little center part just for now though. Alright, so half my yellow mixture and my potters pink. Let's go ahead and just kinda continue in this gestural way here. And immediately beautiful. And then I kinda like the idea of running up against the edge here. So I'm gonna take my brush that has a little bit of the Roosevelt Jr. marine and I'm gonna give it a little bit of detail work. And you can, even if you wanted to have these two pedals touch and do some really pretty things here. Again, totally up to you. I want to show you what your options are and then leave the rest of the magic to you. So let's go ahead and do that again. Picking up a little bit of a potter's pink here. Really giving some shape to these pedals. You can see there are also different. This one kinda has a leaf feel. This one's thinner, this one's squad easier. Very, very the differences between your pedals and that's really gonna help your flower naturally pick up at the structure of it without you having to really look at the subject. So that's just beautiful as is. And then go ahead and pick up a little bit more of the Roosevelts from reads a little bit more of the purple diluted to cough syrup or excuse me, broth consistency. And then we're going to add a little bit more of a purpley color into here. And then I'm gonna brush Armitage, rents off a little bit, pickup the potters pink, and complete the flower with a really pale, pale pedal. Okay, so you can see so much happening here versus, you know, when we were just doing like the shape and practicing, you know, the, the middle part. You can see that there's so much more interest here happening in the flower, and it still carries the essence of the pedals. It's just not done in a way that's necessarily like botanical. So you can see that still bears no resemblance to what's happening here. It's just not in the same way as if we were to see it on a stem. So hopefully that gives you, I don't know, permission, a little more confidence to just play around with your with your option. That doesn't have to be, you know, if you have something like this where it's clearly more structured, you have more of the mechanics tighten. And then here you have something that's a little bit more wild. And then here a very, very loose versions. So you kind of have these three different options here. I like to employ all of this as I go because I guess I was saying, you know, you have your Tina Turner flower, which is this one. Especially if we were to like add in some of the detail work. And then you have this one which might come up behind that flower and really provide some gentle backup harmony is if we're going to run with that metaphor. So keep that in mind as you're working through. And we're gonna go ahead and pull together some of the details. 7. Lifting: So as I mentioned earlier, we're going to be using a Hilbert brush to do a technique that I referred to as lifting. So we are going to dip into our water and it's okay if it's a little bit pink, but if it's pretty dark, Go ahead and rents it out and get some clean water. So basically what the philosophy is here, as you take your brush, you dip it into the water, and then you're going to want to lock onto a paper towel to make sure that it's not oversaturated or, you know, clogged up with too much water, you want it moist. So I usually do that a few times just to kinda get the rhythm of how much moisture I want on my brush and I'm look at it and if it's dripping, I know it's way too much water and if the bristles are separating at the tip, then I know that it's way too dry. So there's, there's just going to kind of be this experimentation of that sweet spot for you. So once the brushes ready, let's go ahead and dive into one of the flowers here, excuse me, one of the petals here, and perform the lifting technique. So what we do is we're gonna take the side of the brush. We're not going to use it belly side because that will create way too thick of ellipse. So we're going to use it on the edge side. And we're just going to run it down the middle. And that wasn't quite enough water. So I'm going to add a little bit more. And you may have to do it several times before you get the desired effect and then you blot off on your paper towel. So essentially you are lifting the color from the pedal and wiping it onto the paper towel. And it's a very subtle effect, but it can provide a lot of pretty details. And it helps to highlight the transparency within the pedal. And there's already a lot of that in watercolor anyway. But again, it's really pretty effect you do if you're kind of attached to the detail work down here at, at the center. You may want to avoid running into that and scrubbing off some of those naturally occurring bleeds. But again, that's completely up to you. Let's go ahead and do the same thing here. Lifting the color. And you're just taking the side of the brush and gently grazing against the paper. If you run it too hard, you're going to you're going to corrupt the paper and it's going to end up warping and you know, forming those little balls that happen when you scrub paper too hard with water or watercolor. And then these pedals are much too late to do any lifting, so I wouldn't do anything there. So this will just be a technique if you so choose to employ it that you use on your darker petals. And again, I encourage a few darker petals and then doing some lighter version so that you have some options and have the ability to make some of the petals, those Tina Turner petals and then the other ones to just kinda let lie in and be more relaxed. I'm going to go ahead and do this one as well. And you might want to do it a couple times at first. You may just wanna do it one time to see what you're working with because obviously your ratios are gonna be different than mine. What, how much paint and water you have on your paper and how much paint and water or I guess just water that you have on your brush. So my result is you're seeing them might be different from yours. So the best, the best technique is to definitely little by little, it goes slow. Don't need to launch in with anything too drastic. So again, a very, very light effect here. Come here at this panel and pulling out a little bit more of that color. So that's pretty much what's lifting is. It's a very gentle technique. It can be used for more drastic effects I give you or to have much darker petals and you really wanted to make the lifting, the dramatic part of the flower. You can do a pedal in cough syrup consistency, let it dry and then run your brush along the middle and pull up a significant amount of the colour and get a really dramatic effect. Because I'm not attempting to, that's more of a botanical skill. I don't use it very often, but I didn't want to let you know because it, it does sort of lend itself to this, this flower. All right, let's go ahead and move forward. 8. Finishing The Center Part 1: So let's have another quick look at our flowers so we can kind of see what the middle is doing here. You can see I have this flower right here. It's not exactly the same, but it's got the same general shape of the metal here. And I've left some room for there to be some really pretty details. What's happening here on this pedal, or excuse me, the center of this flower is that it's white along the edges and then there's some really pretty splashing and staining deeper within. So here's the thing. You can decide. If you'd have some lighter petals to do more of a darker on the outside to really draw that I in word. Or if it's darker a little bit more up against this white edge, you can choose to leave it white and go in a little bit further to start adding some of those splotches and staining. So it's completely up to you. You want to see what you're working with. The same rule isn't going to apply to every flower. So as you paint, and obviously you do this portion before you move onto your details, look at what you have, what you're working with and figure out, well, I think this method would look better with this flower and then this one would probably look better with this one. So it's always about adjusting because there are so many an expected things that are going to happen along the process of painting is any subject. And it's important that you be able to adapt and just trust the flow and the process of the piece and not get too caught up on, Well, that's what it looks like. So that's what I need to do. So just think of that, keep in mind. And then also as we look in closer, we can see that there's some really pretty yellow in the center here that we will add a touch of. And, and you'll use that to just kind of be the thing that draws us inward. But really what we want to focus on are these really pretty splotches are just, they're just gorgeous to me, that's what's makes an orchid and Oregon, are these, these very scattered loose? There's just nothing mechanical about them at all. Just feel so very authentic to the flower. So I'm gonna put that off to the side. And what we will do now is fill in the middle of this flower. So I want you to depend a little bit to your yellow ochre. And we're just going to add a touch of yellow here. And then rinse your brush off a bit and kind of fill in the space here so that it's just a very pale yellow. And we'll do the same thing up here so that this one has time to dry. And just kinda gradually use your brush to spread it out to the edge. It doesn't have to come all the way. But just for the most part, fill in a little bit of white space. And then if you took my last class, you'll know about my hot, hot tip, which is that inbetween paintings. I pull out my hairdryer just to move things along so that I don't have to wait for things to be completely dry because with something like this where we're going to be adding some other really pretty detailed, you want it to be dragged. So I'm going to pause here and then blow dry everything so that it's ready. And then we will go ahead and pick up where we left off. 9. Finishing The Center Part 2: Okay, before we jump into applying this technique, I wanted you to get a good look at the consistency. This is extremely important when doing the detail work. If your consistency is off, the whole effect of the detailing is going to be off as well. So make sure you are working with a consistency that is like thick honey molasses. Sometimes I referred to it as horseradish. You want to make sure the colors are very, very well blend in. So this is the sepia and Roosevelt for Marine. And I basically just kinda swirl it around until it sticky. And I wanted to make sure that I wanna make sure that it's still mix mixes. But I also want to make sure that when I put it down, it's not going to be transparent. So like if you are using wash, you wouldn't have this issue because gosh is naturally doesn't allow the light to show through. So you can kind of see what that looks like. Experiment with a little bit first, even if you tend to need to do a few practice, a little strokes appear just to kinda make sure that it's coming off the way you want it to. Try. Strokes are fine because we're gonna be using just little dots. So you may want to even just experiment up here because obviously once you go into your flour, there's no undoing that. So you can give yourself a little space to just see how it's going to look like as you put it along your pedal. Got up to the sign, and then let's pull you back over here so you can have a good angle. Alright, we'll go ahead and we'll do this 1 first. And again, I'm looking at my flower and just kind of observing it for a second before I really get into it. So go ahead and do that. Feel free to take a few moments and just see what you're working with. And there's this really pretty dotted line that kind of comes down the middle. So I'm going to attempt to pull that out and just kinda drag it through the middle. And then I see some really pretty darker areas of start right around here. And I'm going to kind of break it up that nothing is like too stiff. Not do it in every area. But just sort of break it up until let a be the way that I see it in nature. Alright, coming along really nice. And then we'll finish this off right here are some darker work. These really pretty little splotches. And then some smaller ones. And you can really come up on the tip of your brush here for some small spots. As little spots in there. And again, I'm just kind of looking to see what I have what I'm working with. If this were a lighter area, I would probably have come up along the edge and done a little bit of this is you can still see it. But I have to be a little bit more careful. And again, it's kinda losing its loose nature when you do too much of that. So you'll have to decide where it is that you want to really pull out those details. You don't want to overwhelm it so that the flower just feels very controlled. Come up here and we'll do this one as well. Do some pretty filling up here. Feel free to go off the lines too. And you can just like that pretty line that comes up the center of it. And then trying to give the splotches different shapes, different sizes. I don't want anything to be exactly the same because then it's just starts to feel way too controlled. And again, as I was talking about before, the center of these flowers is pretty big. But in order to keep everything, no, keep the dimensions correct. The petals would have to be so much bigger too, and then there's no way we can fit all of that on a piece of 11 by 15 paper. You'd have to work much bigger, which you can. I always think that working bigger, it's easier, but a lot of people feel exactly the opposite that working bigger and even more room to fill. So what's really comes down to like, what's your comfort level is. So for this in particular, I'm working a little bit smaller, but if you were to be painting your flowers bigger, you have more room. To be a little bit more free form with the details here. So again, I'm just kinda looking closer and there's some really like pretty fuzzy little slashes. So I'm just going to put a couple of those appear and then get back into that yellow mixture and just finish here. And that's okay if the color's sort of run together like that effect. And then the last thing that we're gonna do. Is to pull out a few of these really pretty lines within the pedal. And again, this will be one of those things that you would not want to do it on every pedal. It'll be a detail move that you use sparingly so as to draw the viewer to specific parts of the flower. So that we're going to mix up a new version of the colors. So go ahead and grab a paper towel. He'd need to clear off your palate. And a lot of times what happens is when you're busy painting, all of your colors start to run together and you'll want some new space, you know, in order to preserve the integrity of the color. So just clear little area. And then we'll do Is picks up. And the Rooseveltian marine. Alright, turn to zoom zirconia and ears you can see exactly the right consistency. Because again, it's important here you don't want lines that are too, too bold and dark because then that becomes like the main thing that you see there, very, very subtle within the flower. All right, and again, it's important that you have a brush that is capable of achieving this sort of detail work. If your bristles at r, R at all, afraid at the very tip, you're going to want to find a different brush, something that's much more pointy and just capable of making those fine brush stroke marks if you're not sure, off to the side, come up on the toe of the brush and practice some very fine lines. You wanna make sure that no matter which angle or direction you're coming from, the lines are consistent. And then quite alright, so let's go ahead and put some details into this FAR first. So we'll start with this pedal. You will take our brush and we're just going to kind of graze the pedal. And even after all this time, It's still a little bit wet. I do love that about Canson papers that it's very forgiving in that way. If you need to add some wet into wet stuff, some action there, it stays wet for quite a long time. But again, for someone like me who's ready to move on to the next step and can get impatient. I do like to pull out the hairdryer. So again, just deciding where and when, vary the thickness of the lines and the direction of the lines. If you get anything to straight, it's going to start to look very stiff. You could even come out on this. Here and add a little bit of edge work. So let's do it on a lighter petals so you can see as well. And that's pedal is very, very, very plain and there's not much going on with it. And so in this case, you may want to leave this one alone because it has so much going on and then add a few of these streaks here. It's really so many different ways and options to pull it all together. So in the beginning when we saw that pedal it, there's nothing really shows stopping about it. But then when we choose to add a few details to it, you really can see how it just starts to look a lot more dramatic. I know now that I really don't like the look of it being darker around the center here. I much prefer it being a little bit lighter. And so that's something I'm going to take with me as we move into our final project. I knew that going into this, but I wanted to show you because what I see and what I love is not going to be the same thing as what you see and what you love. So funny, when I'm on Instagram and I was like, you know, I, this is not a fever piece. I don't like it. Almost always. It is someone or a lot of someone's most favorite piece of mine that I've ever created. And I just wonder what on Earth am I not saying that they are? And so that the same goes for artist to artist. You're gonna see things and interpret them as, as beautiful and I'm going to see it as a flaw. So give yourself the space to not feel liked. Teacher is correct, but that you are, you era unique creation with a mindset of your own. And you can make those calls as you move along. And do one more over here and then we'll move to our next flour. And again, I'm trying to keep these really loose and, and not just drag the brush from top to bottom, but kind of play with the consistency here. And as we are adding these really, really starting to fall in love with the flower. As I was getting the material for this class, radios like all man, I'm biting off more than I can chew with organs here. So it's a definitely an intermediate class if you're beginning and you're taking this. All my goodness. You have my respect, but I would definitely begin with cone flowers are tulips because this is, this is some big stuff we're doing here. So you can kind of see that flower now as, as a whole. Really a lot more beautiful than what we were working with at the very beginning. So let's go ahead and do the same thing. You may need to add a little bit more to your pile, the sepia and rows of ultra marine if things are starting to dry up. So I think moving forward, what I'm going to want to do is a little bit of this where I see there's a couple of petals that are darker. And perhaps leave them alone and do some petals that are very, very simple. Announcer detail works. I think that's going to be my my mode of operation as I move forward as we do the final project together. But again, if you see something that is more appealing to you, that, that's completely okay. All right, so we're out it again. Coming here at an angle. This is very therapeutic to just sort of flicking the brush along. Nothing to stuff. Also, move your paper around to get the best angle. You know, there's a lot of times when I'm filming and like doing stories on Instagram, I don't want them paper rocks, I make people dizzy. But when you're going home, move this paper around in order to get the best angle because this, you know, this is not the best angle for me. Moving it up this in this direction and then being able to come up like this is best for me. But again, I'm filming a class for you, so I want you to be able to see it. Case. You can kinda see we have a lot of different options here as far as what it is that we want to do. If you wanted to draw out a little bit more of the curved nature of this pedal. You could always kind of highlight that and add a little bit of detail work within the middle. So that's pretty much the gist of the flower itself. There are so many different ways that we could continue to affect it by adding some bleeding along the edges which would make it move dark to light. But because when I see the organs in real life, they are very faint, almost clear at the very edge. I decided to leave that a lot of my style is outlining. I love outlining. It's just very intimate to me to be able to apply that in my work. And it just makes everything feel they pulled together, but not in a way that's controlled. But I know that's not going to be the same thing for everybody and you use too much of it and then it starts to lose its effect. So, take that with a grain of salt as you move forward as we move into our class project, resist the temptation to continue to add things even when you know, okay, it's probably Danish, probably step away. Especially because you know that you're going to be adding a stem and oftentimes leaves and so something that may look unfinished to you is unfinished because you have yet to add the other things together. So again, always be observing, always be curious about what should come next and trusting that when it's done, it's done. 10. Angle: Before we begin, I just wanted you to see from which angle I am going to be painting the flowers. For the most part, I tried to work with the flower laying flat so that you could see, you know, what I was seeing as we were painting it. But in order to capture the really elegant, lengthy nature of this flower, I'm gonna be looking at it like this. So I won't have the reference laying flat next to me as I'm painting. So and if you're following along with my painting, obviously you would probably be a great idea for you to watch it through once or twice. Just so you can kind of anticipate what's gonna come next. Or if you are, I'm pulling from your own reference image, then obviously you have your own subject to work with. So anyway, just wanted you to know that that's what we're going to be doing. So let's get into it. 11. Class Project Part 1: So before we begin to put the whole piece together, it's important that your palate be ready. So be sure that your consistencies are both at cough syrup and broth consistency. And you have a variety of the rows of ultramarine mixed with the potters pink and then a potter's pink on its own. And then possibly a Rooseveltian Marine with the sepia at a broth consistency as well. So it's just nice to have all of those things on your palate so that you can be pulling from them as you move along. And I'll be obviously narrating as I pull from different colors and you'll be able to see since we switched it out, when I'm using more of the rosy purple color versus the rosy dusty rose potters pink. So I also want to make sure that your yellow ochre and the sepia and the Guassian mixture is at the right consistency. And you want that really nice creamy yellow which we're going to be adding in while the paint is still wet. If you are going to be lifting, then you will need to either speed up the painting process by drying in between and then using your Hilbert to lift out the color. I'm not going to be doing that just because it didn't really love that technique for these flowers. But it's something you absolutely can do if you felt that get worked for your style. So other than that, we'll be mixing up sap green at the end to connect all of our flowers together. The way that my stem is shaped, it kinda has this curved upwards at the very top with a flower very faintly behind and then a focal flower in front of it. So I'll be highlighting that in making less my backup dancer a flower and creating a few lighter versions of the flowers back here. And then some of the darker flowers will, will be marred the focal. And then we'll tie those together with the Sap Green mixture. So the first thing I'm going to do is to dip into my rows of ultramarine. I'm gonna be working with my number ten brush to brushes to be exact. I always go back and forth and have different colors on each one. And then I also have my number six to dip into that yellow mixture. So starting at the top with the flower that's sort of curving over. I speak in. I'm gonna draw this center first so that I know kinda where it is. Just really, really light detail work here. A couple a little bit more of the purpley color here, but a very light version of it. And then that's about all we see of that flower here at the top, and then there's a flower in front of it. So I'll begin that in a moment. Once things are a little bit drive, I'm going to begin the flower that's right here now. Pick up a little bit of the pyres pink. Now's a good time to dip into that yellow. Not gonna do it on all of the petals, but few of them. And start blending in that yellow. Some of those ruffles now. Now remember, I didn't really allow how dark it was at the center here, but I am going to do a little bit of that. Just in a few key areas. So that's the darker mixture of the rows of ultramarine and add in a little bit of that yellow. And again, we're keeping things loose and playful. Don't feel like it has to be super stiff, that the petals have to be exactly the way that you see them. Leave lots of room for expression here. So there's a little detour work on the outside of that pedal just because the one that I'm looking at, it shaded and so it's a little bit dark. So that's why I elected to do a little bit more of that here. Again, I want you to look at what you're seeing and then feel free to pull out what you think it feels special. And if you'd like, you can go ahead and actually fill this in now that way you don't have to use your hairdryer later and just get everything at the same time. And what's kinda fun here is you'll get a little bit of that wet into wet magic. So that's pretty much it. The rest of that second flower. And then coming through here is where it connects. So there's a stem code comes down like that, and then it's going to connect behind. And then their main stem comes down here and connects to that. Alright, so now we're going to finish, are finished, continue over here with the next flower. And I'm gonna do this one a little bit more purpley time mixing it up off to the side years making sure at the rate consistencies, a little bit of brown in it as well, because again, this is in shadow. Is just gonna be like a branding purple. But pedals kinda coming up over the center here. So that's kind of closed off. A little bit of the potters pink. Come over here and start working towards them at all. Pick up a little bit, I think yellow again. Robot. To pack into the potters pink, sappy on it. Great. Mm-hm. And we have a really light flower poking through the back here. So I'm just going to get a few of the petals and leave it at that. And then head over here for one of our biggest flowers. Adding a little bit of the yellow to the pink here. Excuse me for running off the page a little bit. It's hard to fit this shape into a landscape, trying to bring you in close while keeping everything in the frame. A little bit of the yellow down here, up here, and add a little bit of the yellow mixture. See. And then I'm going to add in the center to this one in a little bit when things are a little bit drier, but I wanted to capture the really pretty angle of this one that's kind of folded over what these giant petals extending out. And then we have one more flour right up here at the top. Really pretty angle that I hope to capture. And it's a really pretty bleeding on the edge of it that I am attempting to capture as well. And if you wanted to, I just happen to have some sag grain. Do a little wet and too wet if you've already mixed up your Sap Green. Then you can quickly get it on your brush and just add a little for later. Haven't done that with any of the other ones because the stem is tucked behind all of the other where the stem meets the flour. And then there are some really pretty ruffling what's happening right there in the center. When my hand through this, that's what I get for working all over the page, which is not a big deal. I'm used to doing that all the time. So you will turn that into a little background petal. Just let that be part of our painting. We, we'll just pretend that that's another flower tucked behind that flower. So I'm gonna go back in and glaze some of the areas to just add a little bit of darker. Bleeding work. Not a whole lot. So I'm just read the flour and then adding in a little bit of the potters pink and the Rosa ultramarine. And just kind of giving it a chance to habits moment, making that a Tina Turner flower. So it's a really pretty easy method. You just will be wet the area that you want to lay paint in these to be moist. And then you just kinda gently drag your brush along. I'm going to use this sparingly. There's some pretty bleed work happening in there. And then we'll do the same thing up here on this focal flower. So I'm gonna get my brush wet with just a little bit of paint on it and then come in where I would like to re moisten the area. And then I can add in a little bit more pain and darken it up. And remember, we're gonna do some really pretty detail work. So I'm not going to put in too much more. But because I wanted to initially go really light, this helps to kind of bring out some of those details that we missed. So I pretty much feel like we're at a good spot with this. I'm going to resist the temptation to keep touching it. And just let things dry for a moment. And then once everything is fully dry, We're going to come back and finish up the middle. And as some of that line work and then put a lot, pull, pull, pull it all together with our stem. 12. Class Project Part 2: One thing that I did not mention in the introductory video is that you can also decide to use a spotter for more of the details. This is called a mini detailer. It's the 30-50 round heritage Princeton brush. And this is really great for adding those small splotchy speckles. Just fine gestural marks. I like using my my round number six brush too, because I can do a lot of the same things. But this will provide a different shape because it's not quite as pointy. So for like the ruffling, I do like this brush the best, but for the splotch, those little markings of freckles on the flowers, I think that this would actually be really pretty too. So if you decide to use one of these brushes, go ahead on the scratch piece of paper, just kinda get a feel of it. Do a couple test runs before you put it on your final project, just so you know how it's going to react. So I'm mixing up the consistency again because it's dried and no longer where I would like it of the sepia and the rows of ultramarine. And then we'll head in to do the ruffling around the center. Let's go ahead and start up here at the top and work our way down. Usually this helps me avoid smudging my hand, but not always. So there's not a whole lot of room here, so I'm not going to do too much. Just a smidgen. There was just sort of peeking over and just kinda going along the outsides. And you can see now that it's a little bit lighter here. Detail work shows up. So much brighter. So I'm just gonna kinda do a mixture using both precious little dragging here. I had in the yellow over here, got carried away and got lost in the moment. I suppose I add in a little bit of the yellow here. And then we can do some of the other detail work while this is trying. Alright, so I'm gonna pick up a little later version of the Rooseveltian marine and Serbia. Little less thicker consistency. And do a little bit of the line work. For the middles are drying. Many gave a little structure here by using the lines as well to help show the reader, reader, viewer where the direction, which direction the petals are pointing. Be hard to tell when you're doing loose. These lines can really help create some definitive moments. It's very time-consuming work because you're constantly having to make sure that the consistency is what you're looking for. If you rush that. And just try and go in with whatever is on your brush. It really does just kinda dull the effect. So it takes awhile. But just not everybody's jam. I know. For me it's like I'd like to do quicker floral work and then spend my time on the pretty details. One of the middles up here, so I'm quickly a little bit of yellow. Okay. I like this spotter because you can go quickly and kinda keep that flow of the dotting action. And you don't have to load it up too many times in between, that can kinda really slow down the flow. And when you slow down a lot of times you'll just start to over analyze all the details. I really truly think that the magic happens when you just kind of let go and become part of the painting rather than the one that's controlling the painting. Okay, so we're going to have in a few of those pretty lines without me running my finger into everything, hopefully. Lighten up a little bit here. I don't mind a couple of really bold strokes, but for the most part, they wanna keep them pretty light. Sh, sh, sheesh. So that little mistake, I'm just making into a flower over here, that kind of curving, bending over k. So that's pretty much it for the line work. Mix up the green. I already have some on my palette. Or if you need to take a minute and get it all ready. Go ahead and do that. Make sure you're using a clean brush, no pink on it. Or else you're going to have a brown stem which isn't terrible, but you might initially wanted to be more green. There's also a little bit of gold in here. So if you have some of that yellow ochre handy, you can put a little bit of that into the mixture and then also use it as a detail color. So completely up to you want to have to. But I always think more colors, the more options. And how we've all piece this together. So I started up there. So this is kinda coming up behind. This is the main stem that's running through. Do you have it connected at the bottom? There's not a whole lot of room for this damn again and tried to work smaller than I usually do, just so that we would have a good flowing structure here, but the stem actually extends quite a bit further. Obviously run it off the page if you wanted to. In fact, you could do something like this, where there's another stem coming out from the main stem, which is kinda pretty. And then you could do some detail work along the side here. Picking up a little bit of the sepia. Just kinda make it gestural and give it the illusion of it like disappearing down here at the bottom. So back into the sap green and the yellow ochre, just connecting things. The stem is connected behind here, so I'm not going to add that. Now this is quite a bit far from the main stem. I got a little carried away here when I was putting it all together. And so. It doesn't quite line up with where the stem as in real life and then the extension of it. So I'm going to kind of trick the AI and to seeing it closer than it actually is by connecting something there and pulling in one more flour here. And I'm gonna keep it really loose and really light. And just not even detailed like these other ones, just to kinda give it a different feel. Then if you want to go back in with the sepia and do some more detail work down below. And along the stem. Can tighten up some areas here. Is it not the most extent aesthetic stem, like in nature, is just very chunky and blocky. And so in order to give it some delicacy, I'm putting in more of the details than are actually even there. So again, this can be an area where you decide No, I like it just the way that it is. I think I'll keep it for more on the simple side. Or if you like the details, you can employ the same sort of method. What I hadn't connected this just because I feel like it feels like it's the right angle. I didn't quite come up high enough here. And so it fits the mood of the piece. You can kind of see the whole thing here. And then I'm going to just quickly add a little bit of detail work to that one flower, but not do any of the glazing that we were doing before. And then just kind of looking at it, making sure I like everything that I see. A little bit of yellow in there because it kind of looks a little odd to me without any other yellow. Let that run together. For a different effect. Mice to have flowers that do, are doing different things. Kinda makes it all feel separate but together at the same time. So we pull back a little bit so you can kinda get a feel for the whole piece. So there you have it. That's our orchid. Thanks for working with me. As far as angles really tried to give you guys a very good look at the flower, but also maintain the integrity of the flower by painting it at the angle that it should be painted at. So anyway, I hope you enjoyed this. This was a very thorough, comprehensive advanced class. I even put it in the advanced category, even though we know we didn't get too far into the layering and the details, but I hope you enjoyed it. I hope you will post your beautiful creations on Instagram and tag me and also upload them here on skill shares so I can see and just admire your work. Alright, have a wonderful day and happy creating to you.