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

Lessons in This Class

11 Lessons (1h 38m)
    • 1. Intro

      0:46
    • 2. Supplies

      3:29
    • 3. Setting Up The Palette/Swatching

      8:03
    • 4. Practicing Clusters

      15:16
    • 5. Practicing Buds

      7:39
    • 6. My Hot Tip

      2:12
    • 7. Adding Details To The Buds

      5:20
    • 8. Wet Into Wet

      10:07
    • 9. Adding Leaves

      8:38
    • 10. Class Project Part 1

      20:01
    • 11. Class Project Part 2

      16:08
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About This Class

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Hello and welcome back! In this class, we will be taking a close look at the flower, Stock. Beyond being one of the most fragrant blossoms I have yet to discover, the dainty cluster-like structure of this flower makes it the perfect subject to capture with loose, gestural strokes.

PART I

Supplies

Here we will talk briefly about the materials we'll be using to complete this class. Full list below.

Setting Up The Palette

We'll then spend several minutes having a look at the colors we'll be using and also talking about how to mix proper water to paint ratios so that the petals embody a range of color.

Practicing clusters

Before we get into putting the elements together, we'll study them step by step, beginning with the cluster of freesia. I'll show you, petal by petal, how we can use gestural strokes to give our flowers life and movement without bogging them down with details.

Practicing buds

Using a variety of greens and gold, we'll cover the delicacy of freesia buds, using minimal marks to create the illusion of just-blossoming flowers

My "HOT" tip (literally)

Occasionally it's imperative that watercolor be fully dry before moving on to the next portion. BUT it can also be tough to wait it out, so I'm showing you my tip for speeding up the process!

Adding details to the buds

I'll show you how by adding a few key details to our loose buds their dainty shape comes rising to the surface. We won't overdo yet, rather we'll move in quick study/observation.

Wet-into-wet (mixing pink with green)

We'll get to explore the magic of allowing the green to merge with the pink to create rich, memorable bleeds throughout the petals.

Leaves

In closing we will have one final look at our Stock stem, this time focusing on leaf structure. We'll mix two color for a higher depth of hue and add in a few gestural details.

Supplies:

Watercolor Paper (140 lb. cold press ideally)

Brushes (size 2, (2) 6's, (2) 8's recommended)

Paint (any artist grade will do) we'll be using a mixture of Sennelier, Winsor and Newton, and Daniel Smith 

Reference image or real Stock stem.

Cup of water

Paper towel to blot

Meet Your Teacher

Teacher Profile Image

Cara Rosalie Olsen

Floral Designer + Watercolor Instructor

Teacher

 

Hello, hello!

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

A quick intro before you dive into the lessons!

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

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

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Fine Art Creative

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Transcripts

1. Intro: Hello my friend and welcome back to class. I'm so glad to have you here with me today, something kind of fun and different. Normally we're gathering our inspiration from the web on our iPad or our desktop. But today I have the privilege of having these real Free Asia right in front of me. And if you are familiar with them, you'll know that they smell amazing and they are also quite lovely to paint. So if you do not have fresh flowers, fresh Free Asia with you today, not to worry, you can definitely be inspired by my own. I'm going to walk you through the process step-by-step pedal bipedal. It's going to be a whole lot of fun and we're going to create something really beautiful. So grab that paper, paints, precious and pallet, and let's get started. 2. Supplies: Okay, let's go ahead and jump into our supply lift. So as usual, I am going to be working with the Canson 140 pound cold press watercolor pad. As you probably know from all of my previous classes, I love this paper. It has such a great grain to it, and also it's inexpensive, which means we won't be stressing out about making mistakes, which is essential during the creation process. So highly recommend it if you have other paper, better quality paper that you feel confident and comfortable to use by all means, please substitute it. Again as always, Princeton brushes are my favorite brand. I love rounds. They are so versatile and so everything that we wanna do here will be able to do using round brushes. I prefer that you have a variety. Although this number six brush is my favorite. Because I can come up on the tippy toes of the brush and make some really, really fine lines. It also has a really great belly to it. And so I can make some, some deeper strokes and create this sort of petals that I'm looking for. So if all you have is a number six, this will suit you find. But if you have more brushes on hand, I'd like you to double up on the six is I'd like you to also have a number two. And then a couple of aides for these beautiful leaves that were going to be adding into our Frazier a pallet as always, whatever sort of pilot you have, I'll be working with my porcelain silently as usual. A cup of water, paper towel, the blood off on and then of course our paints. So we'll be working with a variety of Pink's here, starting with Daniel Smith, rows of ultra marine. Then we have some failures, purple Helios. And then this is going to be an optional color. If you've been following on Instagram, you'll know that I have spent a lot of time over the last year working with squash and have really come to appreciate the differences that it has, as opposed to watercolor, but also how it is such a forgiving medium and such a wonderful medium to use in conjunction with watercolor. So if you have a Gosh set on hand and you have ballerina pink, we're gonna be using a little bit of that for the lighter aspects of our flowers. If you have white, that will work too, will blend that with a pink. And you'll get this beautiful color right here. So that's what I'd like you to have. Ideally, if not, not a big deal, we can just dilute, dilute, dilute our pinks here for a very faint version. As you will remember in our previous classes, each color has such an amazing range of color. And starting, you know, as you decrease the value, starting with the darkest and then working your way out, swatches everything. You'll find that there's so many different colors within a single hugh. We're gonna be using a variety of greens under sea green here. And then a Sap Green just jumped off the table. Man, it's all blobby to note, to self and to everyone else, puts your caps back on. Or you end up with a big Greenberger. So we'll be using some sap green and then we'll be using the Daniel Smith under sea green. And then we'll also be using a bit of the rich green gold to come, to bring out these really beautiful, lighter aspects in the buds up here. Alright, so that just about covers it. Let's go ahead and set up our pallets. 3. Setting Up The Palette/Swatching: Here we are. We are going to be setting up all of the colors that we're gonna be using in these flowers. I'd really like adding range two flowers because even though they may appear to have a singular Hugh, There's always so many details within the flower that sort of helps everything and every element Be separate and special. And sometimes that can be hard to do with watercolor. And so we do that by adding a little bit more range of color. That said we're going to be keeping things sort of loose and light and playful. We're going to enjoy the process. We're not going to get trapped in those details, which is why I have so many colors and why we will be mixing up different consistencies of each color. So just a little explanation on behind, behind why I do things the way that I do. This first color is the purple Helios. And so we're just going to reward that. I've been playing around obviously, as you can see. So we're gonna read, activate that paint. Remember you are just dabbing the sides of your bristles never had straight in just the side and just keep activating it until you have a nice cough syrup consistency pile. So let's go ahead and put that right here just so we can see what that's gonna look like. You can see while it looks pretty dark on the paper and actually comes out pretty light. So min ahead back in, we will probably not use it at its darkest. Probably more like in a three level, what I would call, which is like the third version in from the darkest. But just to kind of get an idea of what this colors capable of. And then we can draw it out to see where it's going to be a little bit lighter. The next color we're going to be using is the rows of ultra marine. So we'll do the same thing here. Head in, sounds a little bit more moist so I don't have to work too hard, but I always like showing all the details in the process because when you skip over those things, you can kind of lose people who are still figuring out their way. So this is all familiar to you. You are more than welcome to skip ahead. But I just want everybody to be working with the right consistency so that we can have the best results with our flowers. Very, very vibrant color. One of my favorites. Of course, Daniel Smith doesn't make a bad watercolor. And then we're going to head in one more time. Little ballo, ballerina pink. Looks exactly like a ballet slipper, so they named it. Well, I approve. Now with the wash. It's going to be a little bit different than watercolor. You probably have already taken the class where I introduce you to wash but wash. But in the event that you have it, it's gonna be a little bit thicker from the get-go. It's not gonna be quite as diluted. And so you can always draw out by adding more water. But I think with this color, using it just straight out of the dab is actually going to be perfect. Ballet pink ballerina. Alright, a little bit of water to it. We probably won't use it at that faint. But again, I just like to kinda see what I'm working with him and how it's all gonna go. Now we're gonna be using some mixtures to, so I'm going to be doing a little bit of the purple Helios and a little bit of the ballet ballerina, just gonna call it valet pink, because I keep saying that you can kinda see the Add a little purple to it. This is going to be great for these mid range petals. It's very, very, very faint up here. You can kinda see. But as we're working with, as we're working with the, but it's going to be very light. You can kind of see, I put it right there next to it. Those are pretty much the exact same colors. But these ones down here and these petals there, they're kind of like a, a, a darker version of that. So by adding a little bit of purple, we're gonna get more range. So we'll do this and then we'll stack on top of it that lighter color and we'll all be working in one fluid motion. So we're going to be using a lot of wet into wet, a lot of intuitive painting. And just very gestural. These are flowers that have a whole lot of motion to them naturally. And so there's going to be that temptation to add all of those details because we're going to be, you know, we're working with a live reference versus a picture or whatever's in our memory. So there's going to be that temptation to just capture all the details, which I think usually and inevitably lens to overworking a painting. So let's go ahead and put that on our papers. We can see what it looks like next to. Now you'll notice that the colors here, they separate a little bit. This rows of alter Marine has a ingredient to it and it has other colors mixed within it. So it has those hints of blue. It's like a bluish purple. And so you will have to kind of re-mix it and then it will actually dry with a bit of blue in it, which is fine. It's not exactly the same as our flour, but I do see hints of a violet in here, so I'm not going to be too concerned about that right there. That darken it up just a little bit more purple. And then also going to do a mixture of rows of ultra marine and the purple Helios. So just a different version. I like to have all of this on the pallet so that I can constantly be dipping in. We're going to be doing a lot of loading our brushes and having them ready so that we're not having to stop and pick up a brush. We're gonna be doing everything in one fluid motion. So that's why I always suggest you having a variety of brushes that way. Things can be loaded up and put off to the side for future use. All very similar colors. But as we cluster these flowers together, you're going to see how they all benefit each other and provide just enough depth and range to make the pedals feel separate, but also together. And then I'm not going to mix up the greens, will do that later and you can just kinda see, but we've covered greens extensively in the other classes, so we're just gonna go ahead and bypass that for now. So here's the range of pink. So we're gonna be working with feel free to watch them out. You can see this really pretty violet happening here in the Roosevelt. Bear them skews. You need the purple Helios. So subtle, pretty so I definitely recommend if you are not familiar with this watching process and, and colors that you take some time to do it. But if you are feeling competent and ready to head into the flour, let's go ahead and get there. 4. Practicing Clusters: Okay, so as I mentioned before, we're going to be loading up brushes. So the first color I would like for you to have on your brush, your number six is this mixture of the rows of ultra marine and the purple Helios. And so I just kinda want you to swirling around, get a lot on your brush. Kinda examine your brush, makes sure that there is an even coat of paint. Make sure that it's surrounding all the bristles, not just on one side. You want to roll your paint brush back and forth in it to make sure that there is a saturated level of color on your brush evenly. The next one I would like you to have is just strictly the rows of ultramarine. So the same theory applies. Just kind of sort of like a wart hog rolling in the mud. You would think I'd be able to come up with pretty or imagery. You know what these fishes literally like filling the room with the sweetest fragrance. But note that with it. That's all I have this morning. All right. And then the third brush I'd like you to have load up is your number two with the ballerina pink. And we're gonna kinda just play with these colors. We're going to use them interchangeably. So I may take this brush and dip it into a little bit of purple Helios and then bring it out here. I really, really, I feel like it's my job to equip you with the skill and the technique, but it's your privilege and opportunity to take so many liberties here while we're painting, I'm really not the kind of teacher that like to say and then exactly do this pedal this way and use exactly this color here. I went there to be freedom. And so I always try and provide lots of options to my students. I gave you a wide variety of colors. They don't have to be the exact same colors I have. We're just working with what we haven't. I'll never want you to feel like you need to go out and buy new supplies are products. So if these colors aren't exactly what you have, please don't worry about it. And if they are, feel free to use them interchangeably. The reason I'm starting with this as, because as we're going to be referencing this flower, you can kinda see that the darkest elements start right there, and then there are some slightly lighter ones. And then we have these very light elements right up here in the center. Now, we're not going to be entering the green just now. As you can see, a few if you turn the flower, hear me put my brush down. If you turn the flower just a bit here, you can see this green in here, which is so beautiful and we're going to be using a little bit of wet into wet in order to draw out those beautiful green tones and mix them with the pink. But we're not gonna do that right now. I just want you to kinda get the flow and sense of the loose structure. Of the freeze. Yeah. Okay. So those are the colors I have. I want you to have loaded up on your brush. Those are the consistencies. And now we're just going to practice some loose Free Asia structure. Okay, so I'm going to put both of my number six is in my hands. I'm always working with multiple brushes that put them in my mouth. If that's not comfortable with for you, go ahead and just set them off to the side. I am most comfortable when I have multiple brushes kind of flowing in and out of the page. Ok, so I'm going to dip into my rows of ultramarine and my purple Helios. And also just briefly, I heard your notes about the angle of the camera. I have purchased myself and amazing tripod from Canvas I'm sure you guys have heard about. And so now I will be able to move this little baby around and be able to come in at closer angles, better angles. So you can see in my giant hand isn't blocking everything that I'm doing. So hopefully, you'll notice. It'll be easier for you to follow along. Okay? So we're going to take this puddle right here and give it a go. So obviously, you are not going to be able to see the pedal the way that I'm seeing it. If you'd prefer to be working from a reference image, by all means, have that out and next you, or if you would just kinda like to follow along. I know a lot of you tend to watch the class first to get a feel for it and then follow up with actually actively falling along. So whatever's easiest for you, I just want you to feel comfortable and at ease. So mix that pile up again. I do always have my brushes loaded, but I usually almost always dip back into my puddles and mix them up, swirl around, and make sure my impression is ready. Okay, so we're going to start here with this angle by making a very small little stroke here. And I'm gonna do another one. And you're gonna see that with the stagnation of how everything moves, it's gonna feel just a little bit crippled. The beauty of these sort of loose gestural clusters is that you're moving quickly and you're filling in intuitively, which is just the, the most nourishing part of painting, but just for us to get an idea of what it actually looks like, I'm gonna be doing it this way. We're going to come around here and I'm still working with the purple Helios and Roosevelt's from marine. And then right about here is where I see that it's sort of lightening up to this pink. We'll put that there. And then I see kind of happening behind here, this petal. And this is where we would add some green. So I'm going to consciously leave a little extra space here, even though I'm not going to put it in right now, I'm in my brain, I know that I need room to add in that green so that there's a nice transition of color. And again, I'm keeping my strokes very loose. I'm not trying to get the exact shape of them. I just trying to get the overall shape of the flower itself. Okay, and then now is where I'm going to pick up the ballerina pink, start adding in a little bit of that color. Lets some things blend and flow. And I haven't quite left enough room in the middle here to really add much pink just because there's a whole lot of green there. But I'm just gonna go ahead and add some right there. Let that mix and Mary. And then I would probably go in just a bit of green. And again, sort of agitate that color, allow it to, to settle and really not touch it for a moment. A lot of this process is about adding a stroke, standing back to see what you've done adding a stroke coming back. We're also going to be doing some more gestural like indications of strokes. So I'll show you what I mean here. So rather than an actual stroke, like you can kind of see there's some really small petals happening by right here. And rather than trying to actually get all of that detail, we're just gonna take my brush and I'm just going to give a little indication that there's something else happening there. Same goes for here. There's a puddle right behind here and it's very dark. And if I were to put it behind here, it would take me a while to make that look real. So I'm just going to we'll indication. Now this might look sort of weird on its own, but as we build our cluster and start to put it all together using different colors for the flowers. You can see how this really benefits the overall appearance of the cluster. Just a little bit there. So it's not an exact representation, but it's close. And then like I said, I would be adding the green in here. Let's go ahead for fun. We're going to use the mixture of purple, Helios and ballerina pink. And we're going to add another cluster beside it. I'm kinda looking in referencing this one. It's much lighter than the other ones. These are also sort of in shadow. And so we're working with our light source here where as things are darker under here. And then as we work in progress this way, the light source is on top of these buds, so we'll keep that in mind as we're building when we're doing our class project and building it all up together. Okay, so again, this one sort of has a pedal formation that's flowing outward and then extending app. So we'll start with that. We're going to start with a darker version of the purple Helios and ballerina pink. And then we'll, we'll work our way lighter. Okay? And I'm not going to be really too concerned if these things flow into each other. In fact, love when that happens. So just sort of making these indications to pull it out here. It's kinda hard to see, they all sort of get lost in each other. And then we have a little bit more of the. Roosevelt for marine color. So I'm gonna kinda come back here. And now depend with a little bit lighter version of the ballerina pink, mostly just ballerina peak, a little bit of purple Helios. And I'm just gonna let it blend and bleed and do all of the magical things that watercolors are capable of doing. I don't know a little bit more there. And again, eventually we are going to be adding some green here. So that's why there's this negative space, leaving room for those green elements. So now you can see we have our two clusters. Let's go ahead and do a smaller cluster right on top of that. Then it makes into again the ballerina, pink and purple Helios and do the majority of this flower that color. Here's a tip. A lot of times when we see a flower and there's so much range in it, we want to capture every single distinct part of that flower. How ever one of the prettiest things that happen is when you intersperse a lot of that range and depth with a singular Hugh. You don't want your viewer's eye to get overwhelmed and get busy with those details. You want to have moments within a painting. That's really what draws people inward and it's what allows them to feel peace within your composition. So when you try and wrangle in all of those details and capture everything, there's just there's no capturing nature. That's why it is so resplendent and magical and should serve as an inspiration. But it should, it should never be copied just like another artist should never be copied. It shouldn't really be referenced and inspired. Well, that's my $0.02 on that. Take it for what it's worth. Okay, so let's go ahead and do this one. This one's pretty wide. Two, it's actually the widest one. That might look a little bit funny when we're doing a painting, but we're gonna go with it. A lot of times I make those, those gut instincts to make things smaller because what works in a three dimensional structure does not always work on the page, but we're going to just go for it and we'll make it bigger than what we have going here. And then again, there's some really beautiful I'm green stem action happening here with that, we're not going to add in or that'll be our next step. Okay, so back in to the ballet, pink and purple Helios mixing up over here. And go ahead and just start stacking it. Leaving room for all of the green that would be happening here. I'm going to pause and just sort of reflect where I'm at. Go ahead and add in just a tiny little bit. See that little verbally pink over here. Just to kind of you can see that this is bigger than the other ones, but I'm trying to make some of my Strokes a little bit more dainty so as not to just get clobbered again by the details at, in just a tiny little bit of the pink here. And I think that would pretty much leave that is now you can see these have a lot of colors within them, and this is dark, this is sort of a lighter version and as you see is we're gradually working our way to the top of the page where lightening the color. So we're focusing on that light source, which is so, so important. It's providing this beautiful, generous range of color. Okay, the next one we're gonna do is a little bud, a bud with pink in it. I see that sort of happening right here. So I'm going to be referencing that kinda shooting up this side here. So using the tippy toes up my brush. And then again, this is where all of the green would come in and just tie it all together in such a beautiful way. Okay? Alright, so that's the majority of the clusters that we're gonna be working with. Going to also walk you through how to create the little buds. And then we will pull it all together by adding, by practicing the clusters with the green added into them. And then we will begin our final project of tying it all together with a stem and leaves. 5. Practicing Buds: Okay, so right here I have my Sap Green and over here I have my Daniel Smith rich green gold, which is one of my favorites to add to everything. And so we are going to work on these really, really dainty, beautiful buds that are happening right up here. Some that have a little bit of the yellow poking out and some that are just strictly green, too tiny to even begin. So I'm going to show you just the consistency that I would like you to be working with. Now this Sap Green, a lot of colors. They look really dark, but then when you start to add water to them, they, they really lose their drama. And so I tend to mix. Then as dark as they can go and have that pile sitting off to the side on my palette. Because when you're working wet into wet, there's going to be so many moments of opportunity. And if things are dry or you don't have enough versions and options, and I feel like you get really limited. So that's just my technique. I don't know if that's something that would be helpful for you. But I just want to walk you through every facet of what I've found to be a success for me. So I'm going to be keeping this really, really dark. And then I will dip into my water. And you can see as soon as I did ban it really just lightens up tremendously. Same thing goes for our rich green gold, however, this color is the opposite of Sap Green and provides so much vibrant saturation that I hardly need to do anything to it all before it is ready. Okay. I'm gonna be working with My Number six brush. This is my favorite. Ada is so versatile, as you can see, the point is highly pointed, even more so than my number two, which, you know, essentially you would think you're working with a smaller brush, smaller bristles. However, that's not always the case. Every brush is different and the, the tip of this brush is actually thicker than the tip of this brush. So something to consider, something to do to be looking at focusing on as you're working with your supplies. Getting to know your supplies is very important and figuring out what everything's capable of. So I am going to use my number to brush, but I'm going to use it as my secondary brush. So it's going to be the brush that sort of softens off things. Whereas this thinner provide more of the detailed structure. All right, so let's go ahead and put those off to the side. And we will start working on our butts. So I'm dipping into the Sap Green. And what I'm going to do here, and I'm going to create some stems. And then we will be just a little bit so you can see coming at the angle. And then we will talk them off with those little buds. So that would kind of be the main structure of the base of the buds. Now on the one that I'm looking at, it has a tiny little bit of pink. And so what I would do, pick up my pink and just barely touch it up against the edge. Just like that. Leaving it very dainty, not overwork, just a little hint of color. So we'll do the same thing here. There's a much larger stem happening here. So we're just going to kind of put that in there so that we can at least understand what's happening. Really just wanting you to focus on the actual structure of the bud. Okay, so let's come in here and getting closer. And then for here, I'm going to add in a little bit of that gold as it's coming up over the edge. Let's go in here. Coming up on the tippy toes. This one's just barely, barely even there. And a little bit of gold within here. You can kinda see that we're just grazing once we have things laid down. Now you will have to note that the paint will be drier or wetter depending on how much paint and waters on your brush. That's something that I can't obviously control here on my end. So at something for you to just be mindful of, if you can get down on eye level and see where things are at. But eventually you'll get to a point where you're able to just know that the paper is prepared for you to add in or color. Okay, so then let's go ahead and just add in. See these really, really, really tiny, tiny see if I can flip my, my little branch around so that you can actually see while I'm painting it. So, so pretty freezes or one of my favorites, the smell alone. Only I could bottle that up. Kay, so they're pointing this way. But when I was referencing the entire cluster that are pointing this way. So that's what I'm going to go. We're going to just start making some really then gestural marks. Go ahead and just start making some really small strokes here. Briefings, very tiny. Up towards the tip is really just a little dab, not more than a dab. Come back down here at a bigger one. And there's one that's sort of happening right here. One has a bit of yellow in it, so I'm going to add a tiny bit of yellow there. And then once these are dry, we can go in and out a little bit more details with the receipt green. But let's just get a nice structure down first. Okay, so it's very loose. Not a whole lot of detail. I like it just the way that it is though I tend to add the details because I love them. Always that push and pull between how much to add and went to leave it alone, right? K. So those are still very wet, so I am going to give those a few minutes to dry. And then what we're gonna do is mix up the undersea green and add a few details just to sort of bring out this beautiful shadow work that we have, you know, where the sun's not hitting it and where it's just a little bit darker up at the tips. 6. My Hot Tip: You know, I wasn't actually going to show this part of what I do on my end because, you know, it's not so glamorous. And what we teachers try and do here is to create an experience for you. But if you know anything about me, you know that I'm all about real life and the mess that leads to the masterpiece. So I figured why the heck not maybe this tool tip will be beneficial for you. I've showed it on my Instagram. Why not show it here? So I have this handy dandy little hairdryer that I use. Use it a lot when I'm doing my commission work or when I'm working with a different surface like porcelain. And I'm just a little impatient. And what I'll do is I will leave it on low-power, cool, and just sort of speed along the process. You want to be sure that your paper is not overly saturated with pools of water because what will happen and if you get too close, you will blow the paint, which could be actually a really cool, loose effect to have in your artwork. But you obviously want to be the one who is in control of that, not the other way around. So if you think something like this would be beneficial for you, I highly suggest that it is, it is sped up my game, which if you know me at all, then you know that I have two babies, is something that is absolutely crucial in my business and just in life in general. So I thought I would show you that you do, like I said, want to take caution and care as you're doing it. Stand back and then you can move closer. And then once you're on eye level and you can see that things are dry, it would just give it like a brief little tap, tap, a little bit still coming off on my fingers so I know that it's not quite ready. I'll blow dry it again and repeat the process. So again, not the most glamorous side of painting, but if you're like me and I have so much respect if you are a mom or someone who has a day job but is still working so hard to nourish your creativity. This has been a game changer for me. Alright, narrative. 7. Adding Details To The Buds: Okay, we are now thoroughly dry, so I'm gonna go ahead and take my understate Green and just start drawing it out. This is my all time favorite green in watercolor. My favorite green in Guassian case, you ever have interest in using it? It is deep sea green. But there are so many different beautiful types of grain can't go wrong with green. And so on. And it makes it again to like a cough syrup consistency. Really wanna make sure I have plenty to draw from. And just rolling my brush back and forth, again, going to be coming up on the tippy toes of my brush here. Let's go ahead and move you at an angles you can kind of see a little bit more of my brush position and technique as I'm coming in. All very gestural. Really just sort of flicking my brush around to create a little bit of structure within these clusters, or excuse me, within these buds. I'm working a little bit intuitively here. I'm just sort of glancing and then coming back. And you can see how suddenly our little green gold blobs become so much more animate. Again, resist the urge to get carried away here and just do one due to and then kinda step back and see what you're working with. I'm also considering tying it all together. So I'll be dragging these colors down so that you can kinda see how it's going to look like a as we pull it all together. And then I'm going to come up here. Just adding a tiny little bit of detail. Really don't want to work, overwork anything. And not everything needs, not every single bud needs to have that either. So if you like something the way that it is, you don't have to touch it. And I'll leave a few on touched. And now to tight altogether. Just along here. I'm going to add a few details. Very loose on the tippy told my brush. Just adding some darker areas in the shadow area. And this was our big stem, kinda pulling it all down together. So that's what the very, very top we pull the flower appeared of. This cluster is going to look like obviously minds a little bit smaller to fit on the paper, but you can see we have that and that, and then we have this extension of it working its way. We want to make sure we consider the angle of this dam and really make sure that our lines are not stiff and straight. We wanna be bending our stem. This Free Asia has a beautiful, beautiful shape that just sort of start straight and then it sort of curves and bends. So just being mindful of that. So that's really it for adding the detail, that's a very quick part of the process. One thing to keep in mind, I told you to go slow, but I also want you to not overthink. So again, there's so much about being an artist and this is kind of a peptide, OK? There's so much about being an artist that is a contradiction because you want to be able to craft your work with care. But what happens is when you get too invested in it, too invested in, in performing the exact steps that lead to the exact result, such as these flowers, you tend to get bogged down and you get anxious. And then when it doesn't look exactly like it, you start to panic and they, you don't enjoy the process. And so it's, it's always this mindfulness and what you're looking at, but then always sort of recentering to who you are and what you want to say with your artwork. And that sort of sounds like a little new agey to my, my ears even. But most of us are artists because we have found a connection and something that's bigger and deeper than ourselves. And so we want to be able to say that with our art. So I like to give you the educational foundational part behind the creating of the flowers. It's something that's as important, if not more so to my process. So keep that in mind. Yes. Kinda go slow is you're working so as not to crash your flowers with details, but also when you are working, sort of work quickly, intuitively and gesturally, that that's my $0.02. All right. Next step. 8. Wet Into Wet: Okay, so we're going to pull that whole cluster flour together now, if you feel like you're still not ready to kind of tackle it altogether, you can do a couple more clusters on your own just to sort of get the shape and the feel. You want to alternate the puddles which direction they go in. If you're not using a reference picture and you're just sort of doing this intuitively. You may want to take a little bit more time to kinda practice the positioning of certain things. If you have a picture that you can reference in it, it's already laid out for you, then obviously you have that good to go. Or if you're just referencing my painting than you can obviously just watch beforehand and then actively follow along. Okay, so I'm going to take on this pedal right here. It's got some really light or light pinks in the center and then some darker pinks and then the darkest pinks are happening up here at the very top. So I'm going to respect that. But I'm also not going to feel like I'm married to it either. So I'm going to dip into my ballet pink and put a little bit of Roosevelt's from rain in there. That's not a puddle that we mixed up, but it's quick and easy to do on the palate, ends up looking like this one right here. I also have my green brush or migraine brush, my round brush number six, already loaded up with the Sap Green and this is something I want you to do. That way you can just head in when you can tell that the paper is ready to accept new media. So heading back in and let's go ahead and start building up the structure. And then I'm going to dip into my ballet pink and create the center here. And I'm really being mindful of keeping room for that green now. Some gestural strokes there. And then I'll head up here to the top in just a moment. What's happening here is while I'm working here, these are drying up, which is fine. But I need to make sure that they're also ready. So I'm going to come in at a little bit darker color just to make sure that I have some pretty flow of colors happening is I am just using two colors here and they're kinda showing up looking like a singular whew. Okay. More belly, pink. Just fine. They're there. And now I'm going to look at my paper. Now what my paper is telling me is that the media is much too wet for me, so I'm just going to leave it alone. We're going to actually come up to the top here since I have more time now and finish the top of this. Now things are kinda looking far apart and scattered. I want to sort of bring in the tightness of that, but I'm going to wait to do that once I see what happens with migraine. So dipping into my green cough syrup consistency, it's now looking ready to me. And that is exactly what you want to see. I'm going to bring you in a little bit closer so you can get a better idea of how that's actually looking on the page. Go ahead and tighten up here. And just sort of dragging the tippy toes at my pressure Long. And adding a few more details. This is still pretty structured. If you've seen any of my recent work, you'll know that it's very loose in my classes. That can be hard to teach. So I try and marry these two styles together to create something that's loose and structure together so that people have an easier time understanding it. Okay, so that's where we're at with that cluster. I love it. I think it works great is not quite as loose as some of the other ones. But I'm going to intermix that style with this. So my next one will be a little bit looser so that it feels like it's all kind of pulling together and nothing's too tight. Ok, so this time I'm going to go back to the purple Helios. And I'm going to recreate this one up here. We have this one that's going to have all of this pretty green work down here. So go ahead and do that. Coming out a little bit so you can kind of see huge MY brush morale. And go ahead and get started to sort of redoing what I already have. Go into the ballet pink, some of the lighter tones here. And really kind of combining all of this quickly so that it has a little bit more of a looser feel to it. And now heading into the stem would kind of come up here. And we would pull it all together to ask sort of grazing. The tip of things. Add in one more right there. Just to kind of fill in the space. That's again more of an intuitive thing than anything that I'm necessarily seeing. And then I would probably just to kinda get some pretty wet into wet action here, continue the stem through. And then maybe do a little but staying mindful of needing room. So there we have kind of the whole progression of big cluster, more of a side angle open phase. This one's more of a closed facing away. And then we have a little bit of bud here. If we were to head on top of that and add the very tippy top, we would again, very gestural strokes were kinda facing the other way now, but that's okay. And just start working in that detail. Bigger one there. And then I would probably just kinda see where I'm at, dip into the green gold to create a little bit of gold. Hears that this seems to be a bigger, bigger cluster and we'll add a little bit there too. It tends to go from big to small. If you wanted to add any gold into what you have here, that's obviously fine. Just trying to stay mindful of what's happening. And then we'll do one more, little bit more green gold. And we have it all put together. And this actually, now that I'm, wasn't intentional, but this shape is absolutely perfect for what we're going for. So I would make sure that my big stems kind of happening down here. And then I would pull it all together. I'm doing this quickly. I would probably take more care. And then I could follow it all the way to the top here. Notice there's no wet into wet action because it's, it's long since dried. But you can see how we start over here with more of like a straight and then we're slowly sort of bending things out. And then obviously we're going to be adding in leaves eventually, which is going to be such a fun little part of the process. And we'll work on that separately. But I just couldn't resist putting it in a leaf right there. Sometimes you just have to, you know, you see it and you think, yeah, that's perfect. Okay. So that's the wet into wet with the green. Hopefully you have a feel for it now. And it'll be once we come to like put it all together in that one fluid motions, you can kind of see how it makes more sense when we separate things out. But when we go to do it all at once, you're going to just have, you're gonna have brushes sort of moving and flowing across the page. It's something that takes time. Please don't feel like if you don't get it perfect. The first time that you've failed this, it's something that you takes familiarity with you and your supplies before you really start to get into a groove. Ok, let's go ahead and move on. 9. Adding Leaves: Okay, we are moving on to the final portion before we put it all together in one fluid compositions. So for this exercise, if possible, I would like you to have to number eight brushes. The reason I like it because they too have very pointy tips or tos of the brush. And then they also have a wide valley, which will really allow us to kind of one to two strokes form this entire leaf structure. Whereas with a smaller brush it might take three or four. So that's the reasoning behind that. I'm gonna go ahead and create two different colors for our leaves. I always like to have two, sometimes three colors for leaves just to help kind of emphasize some of the darker areas or use darker washes as veins. So that's our undersea green. And then we will go ahead and mix up our Sap Green as well. Again, this one has dried, so it's gonna take some agitation to like, really get it where I want it to be. So I won't show you the whole step-by-step, but I didn't want you to see the two colors, so will have this and this is kind of a darker version. If you like, you can even add a little suburbia to this for an even darker color. I like to say that I would prefer you have your leaves at a broth consistency to start with. So mixing this pile to a broth consistency and then this one to more of a cough syrup consistency since it's going to be contrast. So you can kind of see what's happening there. So while I was the Emory at you, I pretty much got my puddles exactly y. So let's go ahead and flush out the stem and the leaves. And the move you to slightly come over here and an angles you can kind of see my brush technique and my position. Go ahead and draw a stem and not going to put all the flowers on there. Now I'm just going to focus on the stems. You can see kind of where we're coming up and how it's going to be curving. So I like to do stems kind of in one fluid motion all go back through. And I may add some more details and dark enough areas. But as a start, that's usually where I like to begin. When we are doing, our pedals were going to do the opposite. We're going to start with the flowers and then we'll add in the stem later. But this just to give you an idea of what this term looks like on my end, it actually has these really cute little notches kinda right here that you can add if you like. Not absolutely necessary, but just some detail work. And then once everything's kinda settling, then I would head back in and just darken up some of this area. Really gestural year, not really going for perfection. And then obviously this is where the very top of our stem would go. And so we would drag out these little areas here, not taking a whole lot of time just because I'm only focusing on this demonstrate now. So these leaves kinda, you can see. Swoop up and then kind of curve upwards. So not a real lot of down motion, which is kinda how I live my leaves to kinda go down. But to stay true to what is happening here, I'm gonna go ahead and just be mindful of what's happening here. And then there's a lot of crossover action happening that I may just not capture. But I could kinda set myself up for it if I wanted to. By doing something like that. And this leaf, you can kinda see it's folding over right there so you don't actually see where it stops. Again, sometimes this works in nature and then sometimes it just looks funny. Unless you are a botanical painter and you plan to like really flesh out a lot of those details. So this is kinda where I would stop with this leaf. And then this one actually is kinda coming down underneath it. So I will take advantage of that to kind of create some more motion here. And I'm really utilizing both the tip and the belly. So when I come down here, I am giving it that full stroke. And then again for a little drama, we dip into that under steep green. There you have it. Now, because I'm working with landscape here and not portrait might leave is very long. Compared to my stem, means you can see the stem here is very, very, very long and just sort of keeps going. But wanting to be able to present this in the correct format. I'm working with limited space here, so when I'm painting, I'll probably be doing these leaves a little bit smaller to scale. So you can actually see like what the whole stem supposed to look like. But I, I wanted to paint them bigger so you could kind of get a feel for what it's all looking like. Then I feel that there's not enough contrast here. So I am actually going to pick up my step E m. And I'm going to add a little bit of the darker brown to the undersea green. So I'm gonna be using Daniel Smith Sophia. It's a little clog right now, so I'm not going to add it right now, but when we go to pull it all together, I'm going to have this as an option on the pallet, so it'll be Sap Green, undersea green, and then another mixture with sepia and Sap Green, excuse me, sup yet I'm undersea green together to provide some more darker elements. So if I wanted to add a vein, I can start to add in some looser aspects. This one's a lot more dries. You can kinda see what's happening here. And I'll bring you in overheads. You can see a bit more detail. They're very simple, but they're also very complex at the same time. So again, another composition, but you can kind of see what I've done here versus what's happening on the stem. So it's that blend between loosened structured, always going for it. And you have to remember too, that when people are looking at your paintings that are not zoomed in like this, there's zoomed out. And so even though this might seem simple and in comparison to what you see in nature, your viewers are going to be looking at your piece as a whole. And so it's important that you take that into consideration. I know I've often come way to laser focused into a piece and created some really beautiful details, too many of them. And then when I pull back, I look at the piece at large is just so crowded and it can be a real eyesore without there being any rest and even looser periods where there's not a whole lot of bleeding and line work happening. So keep that in mind as you're working and let's get ready to put it altogether. I'm so excited, I'm going to put on some on copyrighted classical music so we can have that in the background to enjoy, and I'm looking forward to it. 10. Class Project Part 1: And here we are, so as not to lose you, I want to show you exactly which pressures you're going to be seeing in this sort of fluid progression of pulling it all together. So I have to number six brushes here. The first is loaded with purple Helios and a bit of the rows of ultra marine. The second is strictly Roosevelt for marine. This brush is the sap green to add in the green over here where we see that it's coming from the middle of our pedal or excuse me, a middle of our flour. And then this is the ballerina pink that will sort of offset those darker tones and carry the inner formation of the flower. So that's what you'll see as I'm creating the flowers. I'll be switching over colors to the green, gold and the sap green to create the buds. But that will only consist of two brushes at a time. And then I'll head back in like we did with when we were practicing using the undersea green for those gestural marks and make comments here and there and along the way. But I always like to show exactly how we put everything together and then show the progression of things and how it should look fluidly because the whole process changes when you're not narrating every step of what you're doing. So what is this? This is a squared times the states into H, into list. To what extent that somebody who's your boss says, I guess still slack time. Yes. I'm going to create a really pretty bleed here by blending the purple Helios with the Rooseveltian marine. Apologies for the light, my friends. Sorry, go clouds just covered the sun and it changed the whole feel of it fully. We're back in business here. Again, I'm playing with positioning, funky light again. There we go. I'm playing with positioning and angles, different colors. We want to have a lot of range within our flowers here. Feel free to head back in with some kind of gestural strokes. See I'm kind of picking my next flower here. Which angle I want to play with. I think I will do the same law. So this is the ballet pink mixed with a little bit of the rosa ultramarine tune kinda see I have my three presses that are just sort of hanging off to the side here. And just alternating things a bit. This one's very gestural because there's a lot happening here, lot of petals happening underneath that. I'm not going to try and capture all in detail because it will just sort of ruin the effect. Come up here and do a smaller flower Using the valley pink. Kinda little green in there. Immediately. Try and find the right position here. Pardon me, while I tinker. There we go. It's really important to me that I give you guys the best and most of you will be working with a desktop and won't be on a phone falling the class. But I do have a lot of students that don't have access. And so I'm trying to come in close. If in the event you are working on your phone. So it requires a little bit more handling with the camera. Not the smoothest process, but hopefully you can understand my intention here. Let's see, let's head back in a little bit of Rooseveltian marine. So that's kind of the biggest flower that I'm working with here. It's quite a bit larger than the other ones, so wanted to include it. So I'm gonna kinda take another look at my flower here and just sort of see what everything's doing. Cotton, a lot of the flowers, but I'm gonna do two more before I worked my way up the stem towards the bads. Just for the sake of color range, I'm going to do one in the ballet, pink, even though there is not necessarily a bigger flower in that color. I think it's going to look really pretty kind of nestled up against what's happening. And then I also want to get some really pretty green stem work here. So show you. Don't have a lot of control over what songs are playing. So if a lot of them are a little bit like a mournful dirge. I am. Most of them have been pretty good, but occasionally there's one thrown in that. And it definitely feels like it should be played at a funeral march. Thinking one more right there. We don't want to get too bulky. I'm trying to stay mindful that these are pretty thin stems. They don't really come out a whole lot, but I also want to paint. Even though there's only like four or five flowers here. I'm trying to make every pedal count, but I also want to include a few more than that's actually there. This one's got some really pretty gestural stuff happening here, following this one. Changing the shape of a little bit to kinda suit what I already have. I'm sort of staying mindful that I have a whole stem that I need to do and I only have about 4.5 inches of paper here. And then I also have the butts up here, which I'm going to be curving. So again, just trying to paint things to scale p using the landscape format where I doing portrait, you'll be a lot easier to really get the scope of how long this is actually longer than my pad, which is I think an 11 by 15. So we can kinda see it same as huge, which makes for a beautiful floral arrangement, but not too much when I'm training. Paper. I'm going to begin to curve things now. Add a few more. And then I'll be connecting the entire stem to things that momentarily. I like to do a few just to kinda get the shape of what I'm going for down. And then sometimes I'll just stop there and then add in the clusters. And then head back in to do a few more. And it's turning out a little bit bigger than I actually wanted it. But I'm going to work with it. Kinda fits because we're working with large to small, with a couple little smaller elements thrown in. For mobile. Really gonna play with the LU shape here. It's headed with my detail brush later and kind of put some clarity to these flowers. When I pick up a little bit of the green gold now and add it to the tips here. I need a few more little delicate moments here. I've been working intuitively now. Now that I've got the shape down, just sort of getting a few more details, soft details before i element. Add the detail, I'm sorry, and the darker version of the colour. Which of course we'll need our fancies Comanche hairdryer to do. Adding a little bit of the green gold to the buds here. 11. Class Project Part 2: So you can kinda see the structure of things, how it's bunched up together here and then it's more spread out. And then we have more cluster action happening up here towards the top. A lot of teachers will use just a note, artificial lighting just so that it stays consistent. Even I do have that capability. However, there is something so, so beautiful and I will forever be a proponent of natural lighting. So apologies for the inconsistency is here. I'm taking care to keep checking in to make sure What's happening through the lens is what's happening in front of me. But until things actually get on the Dem side, I don't I don't usually turn on my light just because I feel like we just lose some of the elegance of the process. In fact, wintertime is my least favorite time to work. I tend to get into a bit of sad fit because I lose all of the light and it's just not the same working under a light bulb as it is having natural light shining through your window. So my little piece on that, thank you for indulging me. Do one more kind of seeing a weird gap right here. So I'm going to add in one more flour. I like what I'm seeing here. I'm going to add in a little bit of the stem while things are trying before I head back in with the undersea green to tighten up some of the details. For that meta pickup, my number eight brush, that makes up the Sap Green with a little bit of the undersea green, just because Socrates so, so faint. And then I'm going to take a look at what I have here and just start to begin to connect it. Intuitive gestural marks, right year not happening in real life, but something that just felt right going for it. And I'm just sort of stitching the stem together here. Not really worrying about if everything matches and lines up, just really trying to capture just the general nature of the shape of it. So you can see, if I zoom out here, we have seconds, you can see people would see that it's mimicking the shape that's happening in real life. Give me a moment while I readjust and sort of check to see if these are dram on eye level and they're not. So I'm going to pick up my hairdryer and speed things along a little bit so I can head in there with the details. You can follow along with me or you can just sort of speed past this portion and get to the next portion. You can see it kind of it takes awhile. I could just blast it, but then again, I run the risk of everything just sort of splattering so only to move slow. And now once I'm sure that these are dry and when to head back in with that darkest version costs or consistency of the undersea Green. And just pull out some of the pretty details. Again, trying to resist the urge not to touch everything. And again, I'm kind of looking at what I have and then pulling away, looking at the piece at-large. That's what my wonky flower and it's still kinda wonky. But I'm just gonna kinda poke at it a little bit. Create some bleeds. Can see I'm working my way from top to bottom so as not to smudge on my way up, that's a lesson I definitely learned the hard way. Really weren't working with gestural here. Not really trying to get things tightened. Perfect. Thank gave a range of color here along the stem. Karen, last step will be to add in a couple of beliefs. There's really not a whole lot of leaves on either of these stems, but that's because I plucked most of them off to make aesthetic bouquet. So again, I'm going to just kind of intuitively pull at where things are and then where things I feel like would do well. Also, like I mentioned, I'm going to be picking up a little bit of that Sepah and under steep green Now, just to create a little bit more contrast in the pedals or excuse me, the leaves. To sort of looking to see what I have very, very quickly can overwork a stem with too many leaves. So I like to do a couple at a time and just see what I have. Keeping my stroke sort of funky, light, not overworking things. This not really happening in real life, but I feel like it adds a really great flow and shape to the whole branch. So I'm keeping it in there. And now I'm just picking up where I left off, seeing what areas can be improved by some detail work. And just kind of taking a look at things from a distance K point to pullbacks to frame. So you can kind of see what it looks like overhead. So you can see it's not an exact representation of the stems. And I was kinda working with this one and these ones working them both together to create a conglomerate of stems. But really, really happy with the, you know, the restraints of working landscape here. I'm really, really happy still with the amount of stem to leave to pedal ratio. And think that we were able to cover a lot, a lot of different areas, a lot of different techniques. So hopefully if you are working from real life, you enjoyed being able to just study your subject versus looking at it on the iPad. Or if you are using a picture, hopefully that was easy enough for you to follow along, kind of see what I was doing. Tried to make it approachable for all sorts of situations. I really enjoyed this. These are some of my favorite, favorite flowers and so loved that we were able to do this together. So please don't forget to upload your projects to the skill share form. And then also if you're on Instagram and you're sharing the please tag me so I can come by and just leave some accolades on your beautiful work because it really does just blessed my heart to be able to see what you guys have done after you've went through the material, so all right. That's it for today. Thank you for joining me and I will see you next time.