Painting A Field Of Wildflowers In Watercolor | Eva Nichols | Skillshare

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Painting A Field Of Wildflowers In Watercolor

teacher avatar Eva Nichols, Watercolor Artist

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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

10 Lessons (56m)
    • 1. Introduction To Painting A Field Of Wildflowers

    • 2. Materials For Painting A Field Of Wildflowers

    • 3. Painting A Field Of Wildflowers Sky Area

    • 4. Painting A Field Of Wildflowers Background

    • 5. A Field Of Wildflowers Painting The Foreground

    • 6. A Field Of Wildflowers Practicing Painting Poppies

    • 7. A Field Of Wildflowers Painting The Poppies

    • 8. A Field Of Wildflowers Painting The Poppies 2

    • 9. Painting A Field Of Wildflowers Finishing Touches

    • 10. Class Project Description And Wrap Up

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About This Class

Painting A Field Of Wildflowers In Watercolor

In this class I will show you how to paint a colorful field of wildflowers in watercolor.

First, we will mask out some poppies, and then we will let the colors mix directly on the paper as we apply pigment using wet-into-wet as well as wet-into-dry techniques to create a stunning background. In the process we will do some negative painting to create the top of the field in the foreground.

Then we will paint in the wildflower field and add some salt and scrape out grasses and tree trunks with a plastic card before it dries, to create a variety of textures that will later be our background for the poppies.

After the paint has dried, we will remove the masking fluid and paint in the poppies. (I will demonstrate in detail how to paint the poppies, before we add them to our painting.)

Whether you are a beginner, or an experienced watercolorist this class is sure to teach you new and useful watercolor techniques to enhance and bring new excitement to your watercolor florals and landscapes!

  1. Introduction and overview of materials we will use for this watercolor class.
  2. Painting the sky area using wet-into-wet technique.
  3. Painting the forest background using wet-into-wet technique letting the colors mix directly on the paper. Then we will be scraping out some branches and tree trunks, before adding on another layer of foliage, to complete the background to our field of wildflowers.
  4. In the next step we apply our colors to the wildflower field making sure the colors stay fairly bright and crisp. Before the paint dries, we will sprinkle in some salt and scrape out some grasses to create more texture.
  5. After the painting is completely dry, we remove the masking fluid from the poppies.
  6. While we wait for the painting to dry, I will do a separate demo of how to paint the poppies.
  7. In the final step we paint the poppies to create a realistic element that is going to make the rest of the painting come to life.
  8. For your class project you will paint your own interpretation of a field of wildflowers you might want to paint using the watercolor techniques demonstrated in this class.

Please make sure to post your painting to the project gallery – I can’t wait to see your wildflower landscapes inspired by this class.


Meet Your Teacher

Teacher Profile Image

Eva Nichols

Watercolor Artist


Hi, I am Eva Nichols, a Danish born watercolorist residing in Truckee, California where I love being part of the creative community. I show my work at various galleries in California and Nevada, and teach watercolor classes both locally as well as nationally and internationally. 

I love watercolors because the are such a lively, interactive medium. My painting inspiration comes from nature and traveling. Sharing what I have learned about watercolor over the years is my passion.

I like to keep my classes fun and inspiring, letting the watercolors flow and make them paint for me taking advantage of "happy accidents"!

You can watch some of my demos on my YouTube Channel: Eva Nichols Art

For tracings & handouts or to sign up for my Newsletter please go t... See full profile

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1. Introduction To Painting A Field Of Wildflowers: Hi. Even Nichols here from Truckee, California. That's why I have an accent. Weapons. So this says Scotia class, I hope that you will grab your paints and paint along with me today. My idea waas teaching you a lot about creating different textures on for that purpose. I thought it would be fun to with getaways braces from the springtime and paint a field off wild flowers with little background. And it's lots of fun techniques in this particular painting. We gonna you saw? We're gonna skway out with credit card, maybe even a stick. And then we are going to mask out first a few areas where we can pick some puppies afterwards. And the rest of the painting is pretty much just letting the paints do its thing. And I can't wait to show you how I created this. It's super fun, and it's easy. I think even if you begin are just don't be. Don't be shy. Don't be afraid of tackling this because it really, really is super easy. There is absolutely zero drawing involved in this one here on this. You want to? Of course you can. So why don't be a head over into my studio and over the materials with you, and then well, stop anything 2. Materials For Painting A Field Of Wildflowers: All right, this system quickly go over. The materials were going to be using for our field of fire wildflowers. I'm using my artists cold pressed on and £40.11 by 14 inches. Watercolor block. But any size off paper that you want to paint on this fine. It doesn't have to be a block. I just happen to have some blocks now, and I kind of like to use them for these kinds of things. We don't need to trace anything on. And then all brushes I have one inch will be a two inch. Doesn't matter. Wash brush. Flatow got water toe with spires in other areas. And then I am using my number 12 8 and four and the little detail number to brush from mimics world. I am also probably gonna use my rigger brush. I have this one from studying Edwards. Any other kind of rigger brush that you were have? It's fine. And if you don't have a bigger brush, don't need it. Oh, and then I'm also using my half inch data brush. Here's my half instead of brushes, one of my favorite brushes and that one you know can make it up for river brush. Also to apply a masking fluid. I used this little tool, but you can use to stay back off the back end of a brush like especially one like this is excellent both for the heads off the copies and also for the stems if you want to. And I tried out using just the stick from the garden that I had shopping a little bit to a scrape out. But I found out that I don't like it as well as I like my good or a plastic card credit card, and I cut like this. So I have pointy end. And then I had the rounded AM, and so I used that also to scrape out with, and I used a mask included in this painting I used to speed so a masking fluid that I made myself. And I know that from Melinda Wild sees another skills your teacher and you tuba so you can look up on her channel and find out how to do that. If you want to or any mass computer, have and you can also use that high position mask include Marca from PDO for the especially for the state. That's great. I'm gonna use a little bit assault them to believe. And then I used my spray bottle. This is the dark bond. That's the one that makes, like, a little bit bigger dots instead of a missed. If you have that otherwise, you know, just a flick on a little bit of water with a brush that works, Justus. Well, and then the colors. Let's get to the colors. I'm gonna use my quinacrine Read my permanent rose, my permanent magenta French art, a marine blue, cobalt blue, a little bit of peacock blue and my transparent yellow and blue china You can use whatever caused you have on your palate. Doesn't matter. It's not so much, you know that you have to say, because I do just the colors you have, and basically, you need a credibly one yellow and then you're good to go and then just the other. You know, having a variety just makes it a little bit easier. But you could totally do it with just three primary colors. And I think and then, you know, paper towel, Phoenix and then for my water control station, I'd like to have paper towel on top of fifth or Terrycloth. There's no drawing involved and I think that's it. So grab your supplies so we can get started. 3. Painting A Field Of Wildflowers Sky Area: So I have just prepared a page in my watercolor block from arches its, um, 11 inches by 14 inches. So it'll fits in a 16 by 20 Madden frame If this thing turns out and I have just amassed out some blobs on and created a few little lions also with my masking pen. This one here. And I just used this tool here to make the blobs with my home made speech. So masking fluid. I did this actually yesterday, so I'm sure that the mask include is really, really dry. And I have also pared my puddles. So I have cobalt blue French autumn, a lean blue and peacock blue from opine. I have transparent yellow into puddles here I have connected on reds, but Shanna and I have a permanent rose. If you have capital rose, that works. Justus well to whatever colors you have just two colors tonight shows and my idea here is it's wildflower field, some trees in the background and a little bit of blue sky. That's kind of what I have in my head will see what gets on the paper. I have a shoe show in my two containers of water. I have my spray bottles. I also have some salts on standby. And I have my credit card for need to scrape out something, and then I have something new. I've just been doing a lot of gardening work. And so I thought it may be fun to take a couple of the sticks that I have, and I used to an Exacto knife and make them a little pointy. I was thinking that might be a nice scraping tool. We shall see. So the first thing I'm gonna do is this. I'm going to wet the top of the page, and I'm gonna make see how I'm just kind of pushing in. I want to make the top here, and I want to go down for one. Make the chop here irregular, if I can. Because, you know, that's the top of the field. So that wouldn't be like Deb Street. Also be like weeds and wildflowers and stuff sticking up. All right, so let's take a look and see what we got. Don't want any dry spots in the sky area, and I think that can work. And then let me just get some off my cobalt blue and some off my pickup blue. And, you know, you could also use Taylor Blue. If you have that, that would also work. Whatever blue, you have just fine hair out. And I was gonna go in there little bit. Course that's gonna be the trees also. And I'm just trying to get that edge that I'm looking for that can look hopefully like some chops of some weeds and what not. So let's take a look. Tip it a little bit this way to get a little bit this way. And to be a little bit this way, just to get those colors too mix and mingle. A little dry spot there. Don't like that. You probably see it, but you already have some. I have some shapes that I don't like, so I think I might go in with. This is a number eight, I believe brush. And I'm just gonna kind of break it up a little bit. Goodson Dr. Rushing in. There we go. So about thes edges soft at us over here because they were gonna have the tree school and then here some kind of raggedy, lazy edges, All right. And I'm just gonna let this dry a little bit because it's very wet right now. And I want to have Dr Colors, so, you know, I'm gonna have to let it dry a little bit. And even though this is on the block, this is £140 court press paper. It does bubble a little bit. So that's why I wanted to tip it back and forth So I don't get, like, you know, these wavy things going on in my in my sky 4. Painting A Field Of Wildflowers Background : okay, I think I think it's drying off. Means not fly but, you know, sinking into the paper the shine is beginning to leave the paper. So I think it's a good time for me to go in and then create that background off like a forest in the background. So let me start with some French ultimate being blue and right away when I come in, put some of my transparent yellow in, and I'm also gonna put a little bit off shed. I am. I wanna make sure that that force doesn't, you know, be just like, half off the page and see how I'm just dragging in my brush here and I'm doing some little shapes here. I would like to have some darker trees in some lighter trees. I'm gonna push out like that because they want to say that there's also some evergreens here. So that's why I like to make these kind of shapes. Santa chips let the bows some evergreens and then I like to have some of those lighter wings. There's from aspen trees and some other dis idiots trees Dr. Down at the bottom. In general, let's get a little bit more shine. Just a bottoms. Okay, so basically doing some negative painting at the top here, consider that it's OK, because I'm painting the top off this wildflower field. So there we have that, and I think what I would like to do gonna take a little bit off the couple broom, and I'm gonna put a little bit off there. But Sharon, much more than I wanted and maybe even put a little bit of the radio. Yeah. Should have a little bit of lavender. And I'm thinking it would be nice. Just hatched, like a to have a distant or something. Maybe here is putting green it way. Way got that shape that I'm not crazy. Have some more green fish, but not too bright here and again. I want to have that effect. And then before things dry on me, let's try my little sticks here. That wants know quite what I want to see and maybe this one maybe. Let's see here. I want to scrape up some franch is getting some interesting shapes. So I was gonna go with it and see they're what have this one here. Maybe I wanna have a beautiful mind if I get a little bit of bleeding that it's kind of fun . And that's what it's all about. Folks having a little fun. So I think I'll go to my trusted credit card going to do, wanna have some little bit wider, scraping out season nice white trucks, light trucks. So these are just It's like, you know, forced in the background here. Have it. And I think I want to go in with a little bit more off right yellow copper places, one still damp so I might get a new bit of run back when I'm good with that, I'm after some texture here in the background. See how that's nice if we do a bit like here, too, Just kind of tied all together. It's a whole idea now. I think I might just go in and just switch in a little bit of clean water now that it's almost trying and hopefully you know, normally you don't want anyone. That's but I'm kind of hoping for some running backs. That's what I would like here and just having a little bit more off that transparent general. And now, if you have some of the more opaque yellows that really well, too. I don't have that on this pallet. My old traditional palate just have pretty much or more transparent cars. All right, so I think I have a good back on there. I like it. So I let that drive and then we'll come back and will do before around middle ground with all these wildflowers and hoping that this will turn out toe be a really way cool painting . That's what I'm hoping for. And I think I'll just leave that. You know, I don't want everything that you think That's a nice, quiet area there. Those mountains kind of peeking out in the background. I like it. So if you like it, believe it right, That's what we always say. 5. A Field Of Wildflowers Painting The Foreground: our background has dry and I'm quite pleased with it. I think that work is a nice background. And I like we've got that on even edge. That was what I was after. Let's paint in the basic field of flowers here. So I've already massed out where wanted those publish to puff, so to speak. So they will be in focus. And I just used my spray bomb to wear spray a bunch of water on here, and I think I'm going to use Maybe I use start out with my dad a brush and the first thing I want to do is I want to make myself a little bit of a bluish purple color with the permanent rose and some of my French automobile blue. And I'm just gonna put in some little shapes like this. I'm hoping that those will read a slew prints. Some of them will lose probably, but some of them will hopefully show up and remember bigger in the front and a little bit smaller in the back and just want a dad with those round here. It's just so far, this status is so much fun because you just lit in the colors do their thing, and we don't really have too much control, to be honest with you. All right, so that's good with that. And then I want to get some. Maybe we should just get some little red sand, you know, also, and here, maybe want a little bit of a different shape. These could also be some little, you know, Poppy said are a little bit out of focus. Yeah, just like that. So that was with the connected on red, especially down here. They're all right. And then let's get some some yellow in. So have my transparent yellow here. Nice, somewhat watery mix. And we could get a lot of yellow in because we have also lots of glasses, and I'm gonna have yellow and blue mix on the paper for all the green glasses. And I want to have different shades of green. So him that and let's just take our little scripture and I'm gonna spread into these yellow passes that some of them they landed in on a more dry area because I usedto spray bottle and I didn't wet the whole paper just, you know, with the spray bottle. Soy I have still have some dry and somewhere areas. And that's on purpose because I think that helps getting that more random patches of color . All right, so now I'm gonna go into my cobalt blue and I'm going to start going up in some strokes. Kind of. I'm thinking glasses. Those of you have been painting with me before. You know, I Sometimes I see I'm thinking rock. So I'm thinking this I'm thinking that. And right now I'm thinking glasses and just get that cobalt blue in here again. We see areas that are a little too dry for me. It's just giving a switch. And now I'm gonna go in and I didn't bring my brush. I still have some cobalt on it and I went into the yellow and I want to try and see if I can save some of those, especially the purple said I put in. We would like to save some of those if I can't and a few of those red ones, too. And I'm just trying to fill out what I have going on here and keeping some of those shapes that can be hopefully interpreted as some nice wife flowers off different kind. Not all just the poppies and some over here. Nice yellow in here and, you know, yellow and purple complementary color. So if they mix, they're gonna neutralize each other. And if I get them to be next to each other without mixing, they're actually going to where, you know, make each other look brighter. That's the beauty of that more spray and see how we're doing here. So more Queen and I want my field of flowers here to be lighter, the greens to be more sunshiny. That's why I'm using a lot of a lot of yellow, because I know in this wet into wet mix they are going to a mixed together with my blues and creates a greens. And there's also gonna be some neutrals. And it's all good one of those. We have to learn to love what we get here because we have limited control and they want to get some of that hero up here, some nice little patches of sunshine. And now I'm not gonna winds up my brush, But I'm gonna put in some French automobile blue. That's what I did my brush in and I didn't clean it up, so I'm gonna get some darker patches, especially out here on the edges. You know, I'm a big fan of having more darkness at the bottom and at the edges off my paintings that I feel that kind of, you know, pushes if you were into my picture. And it's okay if I have some little white spots because there's also white wildflowers in these fields off wife house doesn't really matter where in the world you are in this early spring time. You know you will, depending on you know, your location. But especially especially, I would say, the piece. That's what I'm most familiar with mobile made mainly. But, you know, especially in the colder places. It's amazing an amazing the kind of wildflowers you'll find there in the springtime. Because the plants have such a short time to bloom that it seems like it's more intense. That's that's my observation. I have no idea if there's any scientific basis for that, but that's how I feel it ISS So see here. That's pretty good. Kind of like what I see here. Doesn't that look I mean fabulous, nice and sunny and are just tipping it a little bit because I do want to have a little bit more mingling and you want to have also some clean colors. So I think I'm getting a pretty nice variation. I do like some of those shapes that I managed to keep. What about if we have put in a little bit more off the pink few places and then let's run it down to a little bit like that a little bit like that. But again, I don't want everything to mix and mingle. I wouldn't have some areas where there's some other shapes that can be contributed as flowers. And here I'm just going in like this just because I feel like it and trying to find some areas where I could possibly Debbie and a little bit more. And I know I never used to the peak up blue and no, don't so far Don't really feel I need it. Afraid it's gonna miss up. The call is that I have. So I think I'm just gonna be a good thought, but all right and now just needed to kind of sink in a little bit, and then we're going to go in without credit card, and I think it would be a good idea to maybe also Sprinkle on a little bit of salt for some extra texture. I'm all about texture here, so let's just, uh, especially up here In some places, you could see it's gonna be still very wet, so that might just melt the salt and other places might already be drying too much, and hopefully someplace is gonna be just right. That's the thing about socked. You know, just the best time to put salt on is really when the shine has just begun to leave the paper. So it's really one of those times where you will have to watch paint dry. And I'm just rocking it back and forth because I could see there's a few places where kind of puddles would like to get rid of those products and just distributed a little bit more see, definitely very bright. So it's bringing it very much in the foreground compared to those more dark and blue, The cool, more mobile in tones down there, and this is brighter and warmer. And that's great because that is how we establish the difference between four background. Just one of the ways to create atmosphere in depth in a painting, and I'm just looking at it and seeing what I can come up with. Nobody says You can't go in again now that things are beginning to dry a little bit, just having in a little bit more that purple some places. And now I'm looking at, you know, behind some of those puppies that I that I'm asked out. A little darkness behind them would be a good thing there. Let's get some more darkness down here, so you're a little bit of the cobalt blue way since I have that couple. There's a couple blue and a little bit of French ultra marine blue. We're kind of like it. So it's never good to have something just in one place, especially if it's not like the focal area. So you definitely want to know kind of spread the love. You see you getting some darker queens like that, and again, let's go down here. Darkness, a little variation, and you can see some areas. The paper is still there, wept in other areas. It's beginning to dry, so the shapes hold a little bit more. That's all good get rid of some of those whites battle out here on the edges. So just done. I call this edge patrol, so I don't want, you know, any edges to kind of draw too much attention. That's never good. Things were pretty good. Should give it another little Sprinkle assault. Why not? Right, So so that was assault. And I think I still need to let it right just a moment more. And then it's time for scraping out some glasses. All right, we give you a little bit of a closer look, you can see it's beginning to dry. Still have a few areas that are very, very shiny and very wet. But I'm going to start sweeping up some grass is gonna start over here that being the dryer corner and just using using this part off my credit card, which is a pointed tip. And I'm also gonna used around it, one that's gonna give me some little bit wider ones. And if it's very wet, the pigments gonna run back in again and create some dark lines, which is fine. And if it's dryer like here, I can get some lighter markings. I don't want to overdo it, and I definitely don't want him to be true. Regular. That's never good. So stupid, thinner ones. I can see. I am getting some salt actions, certain areas, So that's good. Think I'm gonna leave it at that with a scraping? I don't want too much, and now we just have to be patient, wait for it to dry, and then we'll see what we have to work with. 6. A Field Of Wildflowers Practicing Painting Poppies: okay, painting his life and I just rubbed off this salt. And now I'm gonna take my rubber cement a razor and gently off the masking on the puppies that we're then going to paint in. And there's also I did some little white Dad was here and there you see how that all turns out. And once I have removed the masking poets will take a look and will stop painting into puppies and putting on the finishing touches. So now we have the masking fluid off and over all. I like the feel already of Ping. I really like the salt action that I got It didn't take it back toe white, but I have kind of like like bluish little textures that totally looked like sprays off some off the little wildflowers in between the poppies and the other, like the blueprints on the other colors. And I love the blow off the yellow. So now we're gonna go in and paint in the poppies, and I feel that here is my focal area. What? I have the biggest concentration off poppies here, and some of the shakes will probably have to adjust a mental, but that's not a problem. So now I just need to mix up some good puddles off some reds and a really rich die for the centers off the dock copies. And then we need to doctoring to win toe finished these poppies. So let's get started on that. So before we stop painting on our actual painting, I thought it might be a good idea to just practice a little bit on a couple of scrap pieces of paper. So I'm just gonna put a little water in here in a block. She have a little bit of yellow on my stone. That's okay. And then let's put some off the connected on red color in just kind of mix and mingle and spread the just a little bit. We can put a little bit of the yellow into still, vary the color and give it a little sunshine, and then the car that we do need ISS. We need a real dark about it too watery here. So it's just clean on area. Why, this kind of sinks into the paper a little bit and clean up these areas and then I'm going to We're going with some equipment, magenta some think much ultra Marine blue to create a blackish are a little bit more off the charts. Marine blue. When you mix there, that's more like it. So let's see here. Can we have a little bit in here? So there's very loose version off a copy. More red in here, Really dark side here, try and get a little bit of shape on it, right? So there that would be a very loose poppy. Or would go in and do a little bit more with the black and maybe had to see. Maybe I want to lift out on this one and trying to another one another low block, which more you want to make, one that's beginning to open. While I let these to dry a little bit, Let me mix and nice green at work. And again, I think I want to use my friend Shotem away in blue. Put it over here and, uh, a yellow in and have a little bit with light of lean here. So that's a nice life, and I don't know if I have good enough chip on this one, but anyway, that's good enough. And then rigger brush is gonna be a lot better for that here. And this is the one that's opening up. So this'll way opening up. And, you know, we have to remember that this is stuff. This is a loose interpretation, so I don't want my puppies to be to defined. That wouldn't look quite here. Pick up a little bit. Here, highlight and being a little highlight here. If there slick a big pedal going in front off there, you still have to wait a little bit before we can put in water lack in black that we created. But let's go back to this one here now that it's almost right. And let's define that front pedal by this very black middle center that they haven't do, giving it a little bit of those little seats, see like that and define it a little bit more. Now I can go down and maybe do like this spring that front pedal out a little bit more by putting something back behind it. Other pedals here I would like to believe e think that's probably how I would want to leave it. Think that's plenty off information, so to speak. For these types off loose, happy's And then here I wanted to lift out just a little bit. Also give it a little bit more texture. Lose that whitespace. Now that I can safety church, the red and the green together hopes you can't see a damn thing. I do it like that like that And then one other thing. I don't know what's gonna work over here, but if we wanted to, we have some off the foliage. It's very, very light and airy. It's type a foolish I sprayed with my Mr Bottle and then I'm gonna take my rigger, brush some of the doctor in here, roll it around, and then I'm just gonna let it run through these little droplets. And that's the kind of foolish you see on these and it's gonna drop in a little bit of the dark queen. You're in there to get a little variety and then give it another with you have too many hostages weather than I wanted, But that's okay. Just playing right now just to get a feel for it. I think I like that. That's pretty cute. And then let's see what we can do with this one here and there Almost tried, but not quite. And then we want to get a little bit in that dark. Okay, Here, I think, probably just lift out a little bit more on the fact that and I think I would leave that That's this again. I could dark in a little bit you wanted with the dagger reds and like to use my permanent magenta dark and that where they still look red. But what you get that which dark caught off things that just little tests. 7. A Field Of Wildflowers Painting The Poppies : so you can see I have started painting in just part of the pedals. So wherever I find a shape that could be like a front pedal or back peddle, I just painted in. And then you are not gonna do somewhere just, you know, paint a blob of bread. And then I can what's going with my dark and actually in that one? Let's see if we can go in without duck on that one now. So that's that French ultra Marine blue and burnt Sienna. And so let's go in just like that. See, that's all it takes. And it actually says it says happy and show you here how I painted those other ones. So here, let's see what I what I see gonna go like this. So I just on most of them I've just kind of defined either the front or the back panel. So here I'm defining a front pedal, and I'm just painting it in with that red just like that. And that's what I did it on all these other ones. And then this one I painted in the back pedals first, most of the time of people in the front pedals but it doesn't matter so much. And then I can give it a little bit of sunshine. Us. So that means I give it a little bit of yellow, and then I want to darken it a little bit more down here, away from the light, and I can go in all so you could stop also, you know, doing some of their stems. So here, I wanna have this stem here and the reason I like to put that on while it's still What is that? You know, if I get a little bleeding and then stem stem, they're still here. E wanted something a bit lighter green here. And then it has to be Doc. So where it goes over. But, you know, you also want the stems kind of, you know, they have to disappear into the background, Can't see the whole stem on any of them. That be very good. Anyway, okay. Hams then here is gonna paint in a little bit of red here, and then just take a little bit of our eminent magenta kind of dab in at the bottom here more right on that and the same over here. So that's the little butts with painting. And here's also oneness coming out. That may be also one that use here. They haven't opened enough that see this one up here could also use could also be one that's beginning toe open. So then I think of some of them we can begin to paint in the petals that are behind. So here, this one painting in pedal here and lift on which can you see that gonna just wait a little bit here, I want to go that we don't go here. Maybe get a little bit of yellow on a little sunshine on this side of the pedal and in its stock off right there. I think I can hopefully in petal here. We really want to pull it out so that it's night on, but lighter. Maybe a little bit of the yellow one mouth on that one. We need to get so that black on fairly concentrated and only on the tip off your number four rush. And then before this tries, I want to go in and get that on a little bit more really strong. Lax with that French ultra marine blue with some burn china in it and let's to school and just really emphasize that. And there's that. And we can always go in and split up or dark and or lift out where we need. But I think that's a pretty good one. And then we have the same going on this one here. So first we need to get the red and put a little bit of water on here. Switch much there and then get ready in. That's a connected on red. I start down here and as she's gonna again trying to a little bit off the magenta right there, we wanted really dark. And then when stepped out and put my neck nor read on and then got winds that out just have a little bit off that color up here. So this perilous, really catching the light Just live, drive for a little bit and then I'm gonna put that which, which Doc on again has to be sick, the thick of the painters and lessen runs. And so I also have to wait for that to dry just a little bit more. I go in here just a few years that you know this one here. Actually, I wanted to put a little bit of that dark in there. And then I'm gonna paint the outside while I keep an eye on that one over there. So I just want to get something that I read on here at the bottom and then convince it out and just pull it out so that that edge states really liked there. That's a nice little a nice little hoppy here. Think this is getting to the right dryness that called on here and see the thing is, you have to have enough hit mint on your brush, so you want to try, but it has to be. Your brush has to be loaded enough that actually the pigment will run off the brush. So I had to reload this one. Look at that. How pretty is that? I love putting those dark and center saying, because really, that's what makes the whole flower our rights. So I think we can do this one here and put a little water and split this one up into true pedals. And so again, going to start with national grid down here at the bottom and up in on this edge, and then put a little bit off that permanent magenta and here at the bottom, with a little bit more off the little red and a little tiny bit off the yellow, the yellow Such a strong common doesn't take much. Maybe more than that's okay. See how pretty that ISS. I just have so much fun doing these, you know, Sevilla, scary first. That's why I like to do. The practice is to kind of get my guts up. And then once I get the feel for it, then it's just so much fun. We have to wait just a minute before we can paint that part of it. And I think that's a little piece of moment. Magenta Kok district that almost black when it's full strength. Okay, so let's paint here and that one. I think I'm just gonna do that one as one pedal and can always split it up. If we decide he and painting upside down, I hope that doesn't bother you too much. And so we're gonna get some off that current. No red right here, the edge there. And I dip into a little bit off the permanent magenta and just dip it in just too dark in this. Read a little bit my brush, and then we're just gonna pull this read up to the H and make sure we keep that nice light light on edge because the sun is, you know, these are so delicate. The sun kind of almost shines through them there. See your pretty notice again. Wake up a little bit until black on, but this one needs the black mouse just the perfect time. And so you want to make sure that that you have it straight. So it's kind of outlining the front edge off the pedal, sees where you want to have this edge hard, and then it fusses in. You know, Post has all those little statements. It Fosse's in fastball in here. So hard edge and then a soft edge. Kind of irregular age like that. See that? Okay, So what else do we have? We have to paint the rest of that one, and it's gonna go in my connected all red. And he was gonna go in with on dry and get that color on here, and then I'm gonna rent it out, put maybe a hint of the yellow on a tip of my brush and pull us out so that we have a really nice light, very light each year. And maybe what chicken can't offer that Koonin Magenta, Did you bring that frontage off the pedal out? And then I think it's safe enough to go in and put that black on and again. This part that's obscured by the front Pittle has to be straight, hard edged, and then the other parts this kind of fussy and on even that turned out good. I think. Let's do this one. Can you see how funny iss just to do them like that? See, I think they really come to life very well. 8. A Field Of Wildflowers Painting The Poppies 2: So before I continue painting in the last details in the same field of flowers off while house I just wanted to show you how the seed hits Look, because I didn't show you that when I showed you a little demos off the flowers. Here s so I drew in a big seed heads so you could really see it. And all you need to do is weddings. And you know, the reason I want to show you here is because you know the ones in the field there so time you can't wait to see what I'm doing. So I don't find that very helpful for you. So I just put a little bit of water in, Might leave just the top part. Dr. Course, it's gonna catch a little bit more light. And all I do then is, you know, grab my green and depending on how old, so to speak. The seed heads are they start getting more kind of brownish beige, and so I put a light source user will have the doctor part off the green on this side, and then we'll make it a warmer or yellowish green on this site that catches the sunlight stem here. And, you know, since the seed heads in our field of wildflowers, they're so small. You, you know, you can't wait to get too many details in there. So let's see here. Maybe I want to go with a little bits off my for China just to get, like, a real dark on here underneath your little bit and then on this side, So just running more dark side, and then we kind of need to let it dry. Just emphasize that which there, see, the minute I start getting into these things at that is just so fun. I just love it that and you can see here. That's a much, much, much, much more detail. And there, you can see that's actually the seated. It's That's what it looks like inside the poppy before loses its pedals. And then there it iss alone naked later on. And as he said, they get a little bit more brownish as they mature. And let me just say, maybe put in just a little bit that like this on this and now we really have to get a dry. Of course, we need a few hard lines and then it's good to go, and I could also show you while I have this big one. So that's not so relevant to what we're painting right now. But just for fun, you can take your little credit card or your you know that's the car and why I was still damp. You couldn't pull out some little hairs because they actually do have a kind of little fuss . She's on them, especially on the stamps here. And if it's the seed head, they don't really have the fastest on the seat head. But they do on them on the little but that you know, the outer leaves on the But I do have those hairs also, so you could put those on if you want it. But it was all up to you, and you could also here on this side, scrape out a little bit and you could use your credit card to get these kind of it rips in . Know what they're called, not a botanist. Also do a little bit like here, and then we have to live drives already good enough, really. But that's what they look like. And those little tiny wants that we're painting in the wild flower field. You can't really see it, but just wanted to get that into you know what a CPA looks like on a puppy. Right? So let's just get the last Kittles painted for our little wildfowl field here. So have my brush. Laurette, my switch Dark red. That's connect on Red and a little tiny bit of the permanent magenta. And just drag this out again. Have it looked like a little bit. The light's hitting the each of that backpedal, and maybe we can dive in a little bit underneath here. That would be good. That would be away from the light casting show. It was pretty good again, I think wanted just a little bit there. I'm just having way too much fun. You really don't have to do all this, but it's fun. So why not way have another one here that needs to be nice and dark there. And then a little bit of connected on just I think I want to put a little tiny bit of yellowing here to just kind of liven it up, and I need some more really dark, thick paints here and there. Look how nice it is when it spreads like that. You see here, this one. I'm not true. Happy with the shape right now, But let's to see what happens before we start worrying about it. Just gonna put something, never read on and be a little bit of the yellow to kind of live in it up and off and want nice and lighter. They're gonna put a little basically the Magen touched, and then I'm gonna pick up some off the pigment right there. Let's just wait to see a little more off the queen. Ecuador Red on here. Go. OK, I think it's time for getting that little brush out and get the tops of those seed hits painted in. And they look something like this. So I'm gonna do like, a dark green can dirtied up a little bit with the burnt Sienna, and then they look like this. Now I'm going to see if I could get a picture on the screen here so you can see what they look like. And I'm gonna get shapes in first. Have these little lions. This one thinks one. I think that's pretty much it. This one here will be seated. It's not. It's on the edge here, so it's not so important. Oh, here's another little guy. And then the sky make myself kind of sort of beige color, grayish beige color. A little bit of what they could be green. And then, you know, as they mature, they get one more kind of promise. Warm, but very watered down. So just like that again, this is, you know, not a clothes shop which are botanical, so don't want to get it too stiff and too detailed on this one. He and each of little stem. I think we need it just a tad more thing right over here and a bit of a green on this one that can also be a little but their queen decide girl and just talking a little bit more shadow side. So use here, can it? Now, I think I just want to get a little bit more off some grasses and some weeds in some you know more, maybe stems and stuff, just to kind of finish it off 9. Painting A Field Of Wildflowers Finishing Touches: now, I think I just want to get a little bit more off some grasses and some weed since, um, you know more, maybe stems. And just to kind of finish it off, just going to put a couple stems on that missing good on my screen. Guy needs a little, and I do have some white marking said I'm not too crazy about your Those are easy to get rid of because we're just gonna give them a little bit of winning. But first, let me take my bottle and just put a little bit of water spray a little bit of water on there. And then I think I'm gonna take my dad a crush and I'm gonna make myself so greens and I'm just gonna first you like this kind of on the side. Scum bling, this is called and could also be was not exactly dry brush. What I have, you know, have some water on there. But, you know, it's hitting also some of the drier areas, and then it kind of skips like Dr Rushing, and I like to get some of these textures and a little bit of one of darknet. A little bit here in the bottom. Always a big fan off having the bottom stock into a little bit that before. So she and it's very important that you vary the color don't want, like the same queen all over don't want the same marking. So we already like that better. And I have a variety off line of brushes off quick process, and I have this weird one that I thought that I haven't used much. It has that really fine thin. And then it has, like a bunch of fat are hairs. So I think it holds a lot of pigment, so you can see thank you. Yes, he. So far I have not seen that impressed. But it might be operator era. That's the main problem. So that's just so This is a flick of the wrist, and I just want to get some more glasses and they can go. They can go in front of South some off the copies that we have painted precaution all. There's all sorts of vegetation going on here. Price. Yeah, not the biggest fan I have to say. Yeah, again, might be operator air, but I feel that I get a lot of things running out. Scrap. Let's go at this one. That's my number six Weaver that I bought from Sterling Edwards. And I really like it because she it horse quite a lot of pigment. And it has a fine tip. And that's kind of Russia's I like and see. I'm going up flicks of the wrist. That's what you want to do. List some grass is going and have to be careful that you stop and evaluate often so well. Or do it. It's It's old man. I should have stopped two minutes ago. That could happen. Get these here and you could see how I changed direction. Caution all the glasses. They're not all going in the same direction. These white spots really shoving any purpose. OK, do you think I think we're getting pretty close to where saying that's enough? It's a real nice docks down there much purpose, and I'm just trying to connect some of these stems. They do have some foliage. Which nation Yeah, okay, I think it's pretty pills to trying to stop 10. Class Project Description And Wrap Up: Hey, so thank you so much for taking my class. So now it's your turn. I can't wait to see your paintings, so make sure you post them on the Project gallery page, and I get a lot of questions about how to do that. So below the video here, you'll see there's a heading that says Projects and Resource is so click on that. And then when you click on that, first of all, you'll see my project description. So it says exactly, you know, step by step, how to do your project. You know, we have just watched the class, so it's basically painting your own painting, using the techniques that we just went over and to upload your painting. You take a picture of it just, you know, use your phone and then over on the right hand side on the project and resource is page. There's a green button that says creates project to click on that, and that's where you can upload your photos and you can also write in your text. And if you have any questions or anything like that, that's the place to write it. And also you don't let me know what color she used. If you use a different cars than me which you know, we all have different palace and different preferences and it doesn't have to be happy is you know, it could be ambassador buttons, cornflowers. It could be opens. It could be whatever. So I can't wait to see what you're doing in your painting with the lessons that you have learned here. And if you want to post it on social media, you can attack me. Hashtag watercolor with I hope to see you soon in another skills yet class until then, Happy painting and stay safe and healthy and positive and creative. So see you soon. Bye.