Paint With Me Abstract Florals in Gouache: Daisies | Brenda Knoll | Skillshare

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Paint With Me Abstract Florals in Gouache: Daisies

teacher avatar Brenda Knoll, Life is short, cram as much in as u can!

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

Watch this class and thousands more

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

Lessons in This Class

3 Lessons (32m)
    • 1. Intro

    • 2. Materials

    • 3. Daisies

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About This Class

Hi there,

This class is the 3rd class in the Paint With Me Abstract Florals in Gouache series: Daisies. Class 1 was the Echinaceas, class 2 was the roses and this is class 3. daisies. 

Most of my classes I speed up the painting portion of my demonstrations as not to bore you but in this Paint with Me Series, I film the paintings in real time so you can see EVERYTHING from start to finish in my process. 

I developed the concept for these classes because I have been going down an abstract floral tangent recently in my artwork and I wanted to explore some specific color schemes that I find VERY attractive in a style that I am currently obsessing over so I thought I would do a series of Paint with Me classes in Gouache because of several reasons = 1. I love the vibrancy of gouache and I remember being really intimidated when I first found out about gouache and wanted to try it so I thought: hey, maybe someone else wants to try gouache and I can make a follow along with me paint class so they can try it too. 2. I love watercolor but this particular abstract floral style doesn't translate as well in watercolor mostly because it is more intuitive and less technical ability, more expressive than exact. 3. Perfect for beginners or those really needing or wanting to 'loosen up' in their artwork, no real rules, just follow along, enjoy the process and because of the colors and subject matter, you are going to end up with a positive result. I think!

Anyhow, I hope you enjoy this class, as always, if you enjoy yourself or learn anything of value I hope you will provide feedback by posting your painting in the project section and leaving a positive review, means a lot on the internet. 



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Brenda Knoll

Life is short, cram as much in as u can!


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1. Intro: Hello there, this is Brinton on this class is called paint with me. I'll strict plurals and quash daisies. This paint is a third class and my paint with me I'll start frozen quash series. The first one was the Ganesha, the second class was the roses, and this is the third class, the daisies. So if you've taken those other two classes, I won't bore you with anything extra. If you like my style, enroll my class, and I will see you in the next module. Thanks, bye. 2. Materials: Hello there. Welcome to this module about materials and supplies in repaint with me, abstract plurals and wash setup three classes. If you've taken any of these classes and the series, then you may want to consider skipping this module as it is the same. Otherwise, these are my thoughts and recommendations based upon my experience. You, however, are the artists so Phil, empowered to take my advice or use whatever you like as always, thanks for taking my class. These traditional grew Washoe, I have the following brands of quash, Holbein, Winder, Newton, and I just picked up the Quran, dash brand and others, three brands that I've tried. My favorite by far is the Winsor Newton designer goulash for a variety of reasons. When I was preparing for this class, I was going to recommend the Winsor Newton primary color set, which I had picked up on Amazon for less than $22. But when I went to screenshot, my favorite for you, I realised that it's now $40 and that may be more expensive than you desire to invest in a new medium. So with that in mind, I recommend the Quran dash palette that I just bought as a more flexible and affordable option because it has a lot of colors and it's only $32 and it comes with a nice brush. And that's the brand that I'll be using in this class. So I have used less expensive wash brands like The Royal laying filled. I think it is or not sure how it goes. But I'll say that it wasn't a good experience. In my opinion, if you want to relatively, you wanna make sure you're using relatively professional brand for the best results. The Holbein brand was real nice to work with fresh. But I didn't, I wasn't crazy about the colors. But then also, I'd like to reactivate my paint and use it from a palette. And it really doesn't perform very well that way. You really wanted to use it fresh from the tube if you going to use the whole behind. But one thing about the Holbein is that that 18 color set that I had picked up was all light fast. And that's great. If you plan to sell your original paintings or display your artwork outside of a sketchbook. For longevity of your work, you want to make sure that you know, like fastness if you're a paints. The Winsor Newton primary set of which I love comes with the red. That's not life asked. And so I'm in the process of replacing that in my pellet where the Permanent red, permanent rose, which is light fast and Winsor Newton being a professed professional brand, will list, lists all of their pigment information and light fastness information on their tube. So that's really helpful as well. I'm part of it. So if your budget allows for, I would recommend purchasing Winsor Newton primary set replacing the red, which is not light fast with the tube of permanent rose to use as your primary red. Other than that, if you have some goulash, go ahead and use what you have if your results are not as satisfactory as you would like, you might consider your brand and upgraded your budget allows us. Also another tip that I have is that if you have a tube of titanium weight or zinc whitewash, you can add any of the those, either of those two, your watercolors and use them as gosh, I now write. You're welcome. That's my hot tip. You have a favorite watercolor and you have a tube and titanium white gosh, summed together and he said a squash and I think it'll work just fine for you. Okay. So for brushes, I'm going to be using my granddaughters inexpensive, large round brush. I think it's like SIs 12. I'm going to be using the brush that came with this CRAN dash palette, which is a size eight and then a smaller probably penta aqua brush for detail. Because washes made with chalk and its gritty and has those larger pigments. It's really rough on your brushes, so you don't want to use your extensive watercolor brushes when painting with squash. I recommend using acrylic and or synthetic brushes are kids and expensive brushes. These are abstract floral arrangements that were going to be doing so the roughness of your strokes will be a benefit as long as you have a small, medium and large round brush, you should be able to complete these paintings without any issues at all. So I'm going to be using a nine by 12 inch Kansan XL watercolor paper. I find it inexpensive and satisfactory for the job. I pick it up a pad of 39 by 12 inch watercolor sheets or a 140 pounds watercolor sheets for less than $5 at Walmart. And I just think it's a bargain. The other thing is microfiber, towel or watercolor. No, sorry, micro favorite tell or paper towels to control the water on your brush. And water container DES, water containers are less than $10 on Amazon and it's a real nice system. You can have your clean water on one side and your dirty water on the other side. And then it's got ridges on the bottom that you can brush-off real nice. And you're never going to mistake this for your coffee cup and accidentally drink your paint water. So this is the system I recommend to my students. And like I said, you can pick these up for less than $10. All right? All right, so it's my hope that you enjoy this class and you create a painting that you can be proud of if you appreciate the class and you have a positive experience, I asked that you would leave a positive review and consider following me on social media. It costs you nothing but it makes a big difference on the internet. And also if you would please post a copy of your finished painting and the final project section that wood is hiss me in developing content as well because I tried to make these classes as beginner friendly as possible and without the feedback, is difficult to assess if teaching is effective or not. Ok, so I will see you in the next module where we will be sketching our composition and blocking in our color. 3. Daisies: Hello class and welcome back. This is Bring in all in this class is paint with me, abstracts laurels and wash daisies. And we'll be doing this composition right here. I'll be using the brand that I talked about in our materials module. But if you took my class, you'll know I also found another inexpensive quash, this hemi guage I got on Amazon. It's 18. Set for It's just $23. So that's quite a good deal. It's lots of fun. I have started testing the light fastness of these colors. And I can tell you that the purple and this magenta are both not like fast. And somebody in a previous class asked what that meant about colors being light faster, not light fast. And what that has to do with is the longevity of the colour, how long it maintains its brilliance. If you recall in the materials I was mentioning that this palette that I really have been enjoying, that the magenta is not like vast. And you can see that in this painting that the pink that I used as an, as brilliant as it was when I started, when I first completed the painting. And that's what the light fastness is about. It's about did the colors fade in direct light under light? And so most artists materials are not our light fast and they have the light fast ratings. And if they don't have light paths ratings, what you can do, what I do when I get a new palette. If you can do a swatch card and cover half of it and then stick it in a window. This is the swatch card for these Quran dash. And I stick them in the window in May, June, July, August, they'd been in the window not quite three months. And this is east facing window that gets maybe two hours a direct sign. Now normally you're not putting your artwork in direct sun, but this has not been indirect son. It's just been in a room that's bright and you can see that the pink has faded quite a bit. Here works was in direct sun. It's totally disappeared and even the side that was blocked is much less brilliant as it was when it was first painted. And the rest of the colors are holding up pretty well. So that's what I mean when I'm talking about the color is not being light fast. So with this grand ash, it's really fun to paint went, if you paint and then you digitize your work, then you don't really have any issues. But if you'd like to sell your originals, you do want to replace this magenta with light fast. What I chose to place it with was with then I haven't replaced it in this set yet, but I have purchased it. What's over here is quinacridone magenta, and then Winsor Newton, designer, wash, professional align. That is light fast and it's about the same color. And so that's what light fastness is about. Okay? This'll be off-camera. Just off to overhear. And but this one, you know, that's what we're using. And I've got a, and I'll be using this palette here. And then my water container as well. Well, most likely be off camera. I do normally film these classes where I speed up the painting portion of the class. But in these classes I wanted you to see kind of the ugly stages at the panel through. So I'm filming it in real-time. Okay, so this just to review the process that we're going to go through, we're going to lightly sketch in our composition how many uses? Watercolor pencil in gray? And we're going to think about, is this paper being cut into thirds. And we're going to put the first circle for Daisy right here where it would intersect and then scatter the highs and where they're at and those will be our daisies. And I don't Yep. And these are abstract, so I can look exactly like it. The wilder the better. It's going to be pretty. Because really what makes these compositions is not necessarily your artistic notice of it. But the color scheme, which is this pink with the yellows and greens and the red and the oranges and the blues are just comes together and just makes a beautiful color scheme. And then the vase in this painting, it's going to be struggling that third here. And the carries of ACE is, does this blue, so it's kind of like a ginger jar. And I just thought this design would be easy for most folks. So that's why I developed it with that design. But you could also do stripes are stripes or leaves going down any different ways. And so again, I'm just gonna do diamonds for the leaves because I think those are kind of easy to draw in groups of three. Put them there and then for balance. And I really liked this fern over here, so I'm gonna incorporate it. Let's just basically some loops that are bigger and bigger. This particular style in a very intuitive, this is going to be reminiscent of eucalyptus. And it's more expressive than exact. And so it's going to be a more intuitive and not necessarily copy this exactly. Okay, so we've got our composition down. Everything you get painted over other than this base portions of kinda be careful there. And I'd like to start with my background in, in this particular painting, the background is this vibrant pink that we make make by mixing the magenta in white. So I'm going to do that first and make kind of this bubblegum pink. Oh, I forgot. Also as well. I taped this down with just some scotch tape because somebody asked me in a forum that I belong to how to take the tape off without ripping the paper, what kind of tape to use? And really you can use any tape. There is a trick. And so I wanted to take this down and show you this trick because you'll use it over and over again, especially if you enjoy painting and then taking off the tape to rebuild a nice wage border. And so I have gone ahead and take this off with just ascii scotch tape because that's what I had said. He could see how vivid this pink is and this used to be just as vivid. So that is what light fast is about, is about how long it's going to stay nice and vibrant under normal lighting conditions. And most of you are professional browns, R and will list their light fastness. Typically, Wash was used by designers and they didn't need it to be like fast because the work was digitized. But now that more and more artists are using wash, your finding more and more. Paint producers are offering lines that are like fast. And then they'll Winsor Newton, designer wash, which is my favorite. But it is rather expensive, is a lists all it's like fast life that's reading is of all of the colors. So that's really helpful. And like I said, I still recommend this karen dash wash set I think gets inexpensive, the variety colors. And with the exception of this magenta, most of the colors are pretty good. Light fastness as you saw from that sample that I showed you in the beginning. And so we're going to put it in their pink background. Well, I didn't even realize how much this Pinchot theory did until I saw it next to this. I'm doing right now. Which again, is not gonna be an issue unless she planned to sell your work, then of course, you really want to care about the longevity of your colors. Okay, so I've got the pagan and then I'm gonna put in some yellow. And I'm just going to dab that along the side here. Who I love that. So by ReadWrite, just shocking about how much that has faded since. I start that does these courses and I think that was back in May, so in three months, that's just the normal lighting. So I don't want to lose. I'm just going to kind of blend the edges into the page that I want to lose that color lay down, but I also don't want it to be in your face. Here's a blob of orange, which is really the yellow, but looks orange when it's mixed with the pink. Ok, so if you remember my processes to kinda block in our first or initial stages a color which is going to be our background. And then R, our main colors. And then come back again and put in highlights and low lights, which you can do with quash. You can layer light to dark, dark too late. And then I like to, as a final step leaves the color around the PT. And that just makes it colourful, pulls it all together. Ok, so now we're going to mix up the middle green with just some green and some yellow or some yellow ones and blue. Just you want to get like a middle shaded grass, grass green. Just painted though, diamonds. Had them do do it. And this is just some kinda dashes I go for anything coming down. And then this is reminiscent of eucalyptus. Does this align with some these going around? And then I'll just OK. And then the center of our daisies are going to be yellow. And while we've got the yellow on the brush, we'll just highlight one side of those leaves. Some dimension. And we'll get our Navy bluish color. Stripes that way. And then stripes perpendicular is measured. So pretty loose. And then I just put a dot in the center. And a little orange around the edge here. I don't want just to outline these DZ pedals with the blue. Don't worry about covering every little thing up. Sweat gives it. Dimension and excitement. Diversity is the different layers and different colors. Is your abstract floral so more expressive than exact? Okay, so now we're gonna go in, normally it up eletric dry, but it seems like it's jumper you get. Now I'm gonna go in with a little darker green by mixing the green with the blue. And using that to dark in one side of the leaves. I mean, yes. Those diamond shapes. Put some here. The opposite side that you didn't highlight. And we put dab with this bright green and the center of these fibers. And these days you seem a little bit dark without that blue. So I'm gonna go ahead with some weight or pink. Just kinda go for that. And just lay that down and picking it up. The down. I'm picking it up. You down. Pick it up. Pick it up. Pick it up. Don't pick it up. Yeah, big goal. That looks much better. Write down, pick it up. Read about covering up the layers below because if you remember that its many layers of different colors that just give it, it's kind of style. And I think that looks good, much better for those daisies. Okay, so I'm going to go to a smaller brush if you have done all live with this kind of larger brush. And actually I'd like what's going on with the daisies wasn't my intention, but I shirt do you like the way it's looking? So I'm just going to maybe put a little bit of them. Not so much an outline, but just a little something to separate these petals out. The color back in there. Who's enter? Though? I really like what happened there when my stock that those big strokes of weight really like that a lot. So this is the point where I'm going to start pulling the color around the painting so it got a little bit of orange there. I'm just going to put orange o wherever I think it might make a difference. So a little bit around the painting. I like that. And I'm gonna put this green and a center, center. And I do want to lighten up those. This here a little bit with some weight. Not so dark. And same here. And I actually, I might give us a lot, so and these paintings are very intuitive. Now if I use, if I'm happy with it, I'll be a good place to stop because then after that I disturbed film that gets too much glue around this painting a little bit. Some Yellow River I think is a benefit to do up here and there. And I think a little bit of pink on these leaves around, kind of around. And then I'm going to call it done when we get I think it looks good. And if you take any other classes, you'll know that I've been doing a little slaughter at the end, which is little reminiscent of babies breath to me. These are plurals and babies breaths are usually okay. And I like, I like little splatter effect, so that's playing energy. Are you going to get this russia pretty wet and dividend some white paint? Just butter over making things. I am going to tell a little bit less. And your face, I'm gonna call it done. So thank you for taking my class. And as always, if you've enjoyed this course of paint with me, abstracts, laurels and guage. Please leave a positive review and or consider liking subscribing, following me on social media, all that stuff. Kashi, nothing but means a lot in the internet world and help support my argument. So I'm going to show you how to take the tape off so that it doesn't read your paper and it doesn't matter what kind of GPUs. It's always the same, same process and it won't ever read your paper. And that is, you want to pull the tape off slowly and to the outside, away from the painting. Slowly and away from the painting. Like that. If you were a bit this way or across your painting than you would have problems with the tape. No matter what brand you use. Ripping your paper, but doing it slowly and off to the side away from the painting. You will not read your paper. It's pretty cool tick trick, right? And this is so rewarding when you do this. And you do use scotch tape and it won't work your paper. And I know that's a nifty trick grain. And so I did want to show you that slowly and off. And if you are confident enough, I would really appreciate it if you posted a photo of your finished paging, is Roosevelt taking this class? That gives me some feedback. I tried to make these classes as beginner friendly as again. And without the feedback, it's really tough to know. Anyway. Thank you for taking my class. Bye.