Painting Eucalyptus Flowers in Watercolour | Cheryl Hodges | Skillshare

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Painting Eucalyptus Flowers in Watercolour

teacher avatar Cheryl Hodges, Botanical Artist

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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

8 Lessons (1h 4m)
    • 1. Introduction

      0:53
    • 2. Observing and drawing the flowers

      7:15
    • 3. Painting - starting with light drawing and undercoat of colour

      7:50
    • 4. Mixing the colour, painting some colour swatches

      1:56
    • 5. Painting the stamens, first flower

      8:39
    • 6. Painting the stamens, second flower

      11:03
    • 7. Painting the hypanthium (the green and brown bits)

      15:34
    • 8. Final details

      11:16
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About This Class

If you have ever looked at Eucalyptus flowers and thought they are too difficult to paint, then this is the tutorial for you. This class will focus on painting beautiful red Eucalyptus flowers in the detailed style of botanical art.

This tutorial will be useful for students who have completed my tutorial "Introduction to Botanical Art - Eucalyptus leaves". However it isn't absolutely necessary to have completed that tutorial. This tutorial is fairly casual, I'm just talking as I'm painting and there is minimal editing.

Meet Your Teacher

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Cheryl Hodges

Botanical Artist

Teacher

Cheryl is an award winning Australian botanical artist with over 20 years experience. She teaches botanical and insect illustration in watercolour. She uses various watercolour techniques to build up her detailed paintings. With a focus on Australian native plants and insects, Cheryl hopes to inspire others to appreciate their uniqueness and beauty.

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Transcripts

1. Introduction: Today I have some eucalyptus look oxacillin flowers. They beautiful. So I thought that I would show you how to paint the flowers. So if you've already done my eucalyptus leaf tutorial where we worked on this type of composition. You can see now where the flower comes out. And if you wanted to do another painting, you will be able to add some flowers into that composition, sorry, one. So you would just have them coming out with the base of the leaf. Joe comes out. And then at least one, there's only two. They can be more than that. I'm just going to paint one just to show you how to do it. 2. Observing and drawing the flowers: So I'm going to put these back in the water. I'll just take one off. And I'll put that back in the water. The flowers shrink very quickly. You can measure. That's kinda helpful because sometimes you might be likely to make things too large or too small. So right across that flower is about four centimeters, 300, four centimeters. And then the whole length of that is about that's about four centimeters as well. Sorry. I missed start. I'm just going to sketch sort of mark only. Just going to sketch the shape of this. Okay? Now, you can have it facing side or you can have it facing away, or you can have it facing towards you. So however you do that will determine the shape of this year. So it will either be straight across, which is probably not the best way to do it, or if it's facing away, this curve comes down that's facing forward, that curve will go up and there'll be some stamens in front. So the easier way is to have it facing away. I will show you both ways. Okay. And then did we say about four centimeters? That's about and about two out there. So that would be the furthest stamens. Okay, but they kinda coming this, there are some going stride out, but not many. And then there's a lot coming, coming down. A little bit wonky. There's a few layers of them, so there'll be some over the top, Some underneath. So it's good just to do a sketch first, work out roughly where you want everything. Then also, I can say the style coming down now, it will be coming straight through like that. So it's important to put that in line. So if I imagine is something coming down, their current will be like that in with the red stamens around the outside. Now with I joined here, there'll be some darker shadows in there so you can sort of just pop those in and it just gives it a bit more depth. Ok. And then all of these, these diamonds are made up of filaments and anthers. So you can see, we're lucky here. Most of these are dark. The nth is at the tips, so and some of them actually don't have any I've come off, sorry. You don't just go look at that, but if you actually join them onto the filaments, the painting will make more sense and it will have more depth. Okay, So that's roughly how to draw us out. Of course, we have a lot coming from the lift. She's not right at the moment, but you can say something is a shadow down that side. So we'll have some reflected light here. And then we'll have a dock here coming up and sort of like that. So that will be the darkest. This will be the low-high lot here. So then you'll sort of have a mid tone on that side. And the reflected light will be a midterm there as well. It won't be as broad as these area here. Okay. So if it's facing I'm sorry, then you'll have now I am putting those dots in the way that I said not true. Don't do it that way on the final planking. So if it's facing forward, then you do the same sort of thing, just roughly sketching this one. And instead of going this way with the law, will go this way. And then once again, we'll have this style coming down. These can obey the sign measurements. But this time and these filaments coming out this time, there will be like this sort of shape going on here. So these top filaments will becoming down here like that. So we will be going over the front of that style. And we have some coming out the achieve, okay, and then I could these the style. Then there will be others. Coming from underneath. Ending. There will be a shadow so that you can see that depth under they. Actually, that's it depends how far up you go with that. These could be even shorter heal with babies and that could be coming up high. And same again, yeah. Putting that down. And then these shadows, that sort of Dhaka area, they there'll be a lot more filaments coming over here. I'm drawing them very strike, they really are quite wonky. I hope you can see that. And then these ones underneath will be kind of wonky as well. So what I'll do now is draw a careful drawing that I will then. Tight. 3. Painting - starting with light drawing and undercoat of colour: Sorry, I'm just going to sketch it. This is just this is just sketching. This is just to have a practice. I would make sure that I had very carefully worked out my composition. If I'm doing this on an actual painting, then the lines that I put on the painting is the only law wouldn't be sketching like these. So would transfer these over to the watercolor paper just as one line so that I don't mess up my paper. Okay, and I want to put, this is what I might actually do. These font to h to h. And I'll just go over that line. Okay. I'll just popping in a few of the eyes and the swam coming down here. Just hope that styling. Okay, and then I'm going to use a kneadable eraser to remove the HB lines that were underneath there. Okay. Okay. Now, I'm ready to do some painting. Sorry, I've just mixed up a bit of a brown using some French ultramarine and burnt sienna. You can say this some brown just around the tip there. Sorry, I'll just carefully pop that alanine. And that's where all my stamens will come from. Now. Knowing roughly. But how long they sort of how long my filaments are going to be. So it's fairly solid. It's a fairly solid red underneath there. And then it comes out as the filaments and then you can sort of see the logic behind. So what I'll start with is some permanent rose. And I'm just going to block a little bit of that in. So not all the way to the end, but it's fairly solid. Sort of. To about there. I guess we're not going to put it as one solid line across there. But certainly up here, it's filled in. So that helps get things started. Then you need to let that dry before you do anything else. Just drop a little more permanent rising to that. Okay. While I'm waiting for that, I'll draw my other one. I have here once again. So if I seem that one towards us, kinda following this one off to there to there and I'll just kind of don't in to my to h over that line. Not too hard. And as I said, this is just for practice. You'd be very, very careful. If you're doing this on your final painting. I'm just going to pop in a couple of those showing whether it's filaments are going. And these little ones down here. Just enough hopefully. And just to give me a bit of a roadmap. And again, not just protein that just put in there. I'll just suggest that line they're not. I want to do it as solid because I am going to have some of these filaments. Some of these filaments can actually, depending on the angle, can actually kind of come up in front like that. So that can look quite interesting as well. So I'm not actually put a couple of those in like that. And we'll do the same again. Now this probably will come all the way down to here now in the center anyway, not all the way out. And actually underneath where that shadow is going to go. I'm just going to put just going to put a little bit of that shadow in there, which is just a brownie color that I mixed up with bent Sienna and French ultramarine. Now I can add more to that. I don't want to make it too big. That's a good start. I think. When that's dry, you can even feather a little bit up underneath it because you can see some shadows in through here. Okay. Just little of that dry. 4. Mixing the colour, painting some colour swatches: Okay. It's actually the next day now, I've had a few interruptions. And I put this flower into, just put it into some water. And gosh, it's actually held its shape and its size really well. I'm, I'm quite surprised. Now. I want to have a little go at just matching some color. He did put just some permanent rose onto here. But if we have a really good look at these coloring, just practice doing here. If I just get some permanent rose. Say you have a trial and my intents, permanent rose can be a really beautiful color. It's my hated going on now. When it's sort of diluted like that, it can't be can't get a quite intense. But I feel like there's a little bit more blue, it's a bit cooler than that. So another beautiful color that I have here is quinacridone, magenta. It's Daniel Smith brand. And that is also getting kind of close to the mark, I think. Sorry, it could be somewhere in between that. And look, there is variation within the flower. So even thought is to mix together via our think that the two mixed together are actually, could be quite nice. 5. Painting the stamens, first flower: Now we really up to painting in the individual stamens might actually just sort of stand it up like that. I'm just mix some more of that color together. Permanent rose and the quinacridone, magenta. Okay. Now I'm going to turn this around. This is my this is a number one brush. The tip is actually not that great, so I will see how we go. Actually, I'm not just start sorry. I'm just letting the brush come off at the end to sort of type a to a point with those stamens. So I'm trying not to make these lines too straight. So just weigh the stamens are coming into the capsule here. It's going to be more intense. It darker in there. So I'm just building that up puppy. But I think the rest of that is pretty good or trying to make it, sorry, they've got some individual stamens sort of growing in a few different, slightly different directions. Bit of a mishmash. Now, there are some deeper shadows in there, so I'm going to mix a little bit. I'm going to get a shadow mix again. And I'll just pop a bit of that pinky color into my shadow mix. So I'm mixing some fringe ultramarine and burnt sienna, and then I'm just adding a little bit of the pink. Now I'm going to use a smaller brush now. Sorry, I'm writing here. We can add some really dark, darks. Just small lines not coming out to found. Okay. And of course I still need to come back and do the rest of it, but I think this is the tricky bit. So once again, using that same sort of dark shadowy mix, so it's almost a dark purple. And I'm just going to pop some of those little enters that we talked about earlier. Just pop some of those on here and the veteran have to be on every single stamen. If we can sort of do some, some of these diamonds shorter and some longer. So there's a little bit of variation within there. It's okay. 6. Painting the stamens, second flower: Just going to test a couple of brush strokes. I'm going to go a little bit lighter this time. And I'm using hunger strike for my small brush now. Okay. I think I need to go big dark. So I'm just going to, you know, we've mapped where the shadow should go. So that's where the top stamens are coming down to there. Oops. Sorry. I'll just kinda lot, lot of these time, which is really probably more my style to build things up. What softly and slowly, getting a bit darker now. If squiggly lines everywhere. Okay, What are not doing now is just with a slightly darker mix. We're going to come down here now remember this style is coming in front. So we need to put these diamonds behind so that there will be some in front there, but these ones are going behind. So put the shutter when but the stamens are coming out longer than that. So I'm going to dock with that shadow is I'm just going over that with the darker pink. So we don't want that line to be there. So you can really say some depth in the now. And the other thing is that it will be some dark lines, some shadows sort of coming up into those diamonds as well. And if there's a bit of a dark, a light line there, that wind to actually be there. So you just need to keep sort of working on that area. Okay. That's starting to come together. And now I'll just come back up here and just keep working on these, this join to sort of work here. Sh, sh. So now I'm putting some dark lines in, not everywhere, just to mix it up a little bit of variation. So you guys are amazing. Shadowy mix again, mixed with the pink. Just to pop a few darker lines up there again. Once again, just sort of coming down, not all the way down. Sorry. I feel like this is quite low. So I'm going to quite cool. So I'm going to just add a bit more permanent rose just here and there to brighten it up a little bit. Yeah, I think that's looking pretty good. Yeah. Just pay more attention to where these stamens are coming down. Okay. And and then with that shadow we mixed, mixed into it's sort of a just showing you it's kind of a dark purple. I just use the shadowing, make some mixed it into pink. And now just give a bit more definition. Poplars at this on the ends or the filaments. Truncate it a little bit random, not too perfect. So remember the stamens are coming down here in front of these styles. So there'll be some at this here and then the ones that are underneath down there. Okay. So that's kind of how we're getting that depth. Could possibly put just some little shadow lines. I really need to be very fine. I think that's the main thing with these flowers. The lines need to be really fine because you sort of painting the negative space in here when I'm putting these dark lines in, it's the negative space between the stamens. 7. Painting the hypanthium (the green and brown bits): Alright, now we do need to paint the capsule here. Now. We have a look. I've got to him now there's a bit of variation here. So this has got a lovely orangey color. This one's got some more greens quite a lot on me grain with some of that orangey color. And then this one's going to grain a bit further up. Also, the style you can see. Hopefully you can see there's a bit of a difference with those as well. But what I'll do is I'll mix up a gray with Winsor Lemon and French ultramarine. Just a bit of a lie Me grain size. I've just it's pretty light, sorry, far. Now at ease, a little bit shiny so we can leave a bit of a highlight. Sorry, in this sort of area. I'm going to go back to my number one brush and I'm going to wet. Just going to do a little bit all wedding wet. Okay. There's still a bit of pink left on my brush there, but I think that will be okay. Actually my water's pink, That's what's happening. That's alright. And I'm gonna just dropping some of that grain, the grain up thing. I mean, it's really, it's quite yellowy at the moment. So I can just drop that around there and that's going to blend. So I just put that grain in there as well. To students sign whenever he looks like we've gone over that with a bit of the pink. So I can just sort of work on it and look that backup. Or I can make I can put a little bit of 1to1. They are on day two. I think that'll be IK. Ronnie, I, this one, I might just go straight onto the dry here. Just take a bit of that pencil back. You don't want to have too much pencil on your paper. Okay? And so I like I said, you really want to be a little bit of color than they had before. You highlight. We're just going to be careful of that pink. I don't want to smudge that too much there. Okay. And then just blend that with the damp brush. And I'll just make some little bit of the Winsor Lemon. And I'll put some permanent rose into it because we've already used the permanent Rosie here just to make that a little bit of that sort of blush color. Some of these I wonder if I can drop that in there. Yeah, that's still a bit wet, so I'll just put that on there. You can do some dry brush on this area. It's pretty small and should be fairly easy. So I'm just going to pop a bit of pink. So I just made that grain a little bit darker by adding more fringe ultramarine to Sam, just getting wet on dry with that now. And we'll just bring that Deanne Lynn that the damp brush to think and actually want a little bit of that grain alone. And I'll do the same night. He wants his cake, this one unfairly grain. That's still a bit widths are just dropping a little bit more green to build it out and get some more of that sort of orangey color that I mixed up there. And pretty watery. So I can see that color a bit better. Maybe. Put a little bit more reading to the orange permanent rose. There's lots of little tiny dots around he is. The kind of does happen sometimes the blue granules lights and it does give you a bit of that texture anyway. And you can make that stronger with some dry brush work. At the end. It's got a little touch of burnt sienna there that just to make that shut our solid even darker, then just drop that even if it doesn't blend well enough. When it's dry, I can get a damp brush and wet it up and blend it again. Okay. And we thought grain. I have here, Simon again, I'm just going to pop a bit more of that grain in the bottom. If we add a little bit of red to the grain, it will give us more of a shadow. And it's good if it's a grain that I read that we've already used here. So I will just get a little bit of permanent rose, mix it into that grain. And hopefully that will give us a bit more of a shadow that dock into that area and sort of make it cohesive. Because we using a color that's we've already used down here. I think I'm going to change to a smaller brush now. And I have a HE, these little line has formed, so I'm going to just blend it with a damp brush. Okay. That's doesn't have a lot of definition in there. So I'll get a bit more. I'll get a bit more of the orange mixed with the bent Sienna. You can see a definite where it's sort of changes shape. They're just going to pop a little bit of shadow, right? And it's going to bring some dark down here. So this is just some shadow makes it I've added to the grain. Okay? And I'm going to just doc and just doing some really little strokes down here. Just to build up a little bit more intensity. That highlights still to be psi. And just using the beat of a lot of grain to just bring it in. Just little strokes. And as you dark and some areas than you realize that other areas need to be dark and again as well. So there's a lot of tuning and throwing and that's fine. Don't need to go in really dark straightaway side. There is going to be this is in shadow, but there is some reflected light on the side. Okay. We'll just build up a little more. Okay. I mean, you can do as much as you want here. If you want to get really dramatic, you can hopping. Some real contrast here with this is just a straight shit our mix. You can really build that out. If you so desire. I mean, they're cute little shape. 8. Final details: Now this line in here is quite dark, so I'm gonna come back, put some shadows in there. When I say, I mean a shadow we mix just just sort of a gray and just hope that Iran. Now the other thing, I'm looking down here and I'm just going put just darken that up a bit more there and tiny bit of shadow just with that sort of coming out. And they're little bit down that right-hand side. And just put a little bit of shadow here as well. Sorry, I'm going back and forth from one to the other. Okay. But at the same time, I really want to make sure that stands out from the background there. Okay. So there's some little imperfections on here. So just a few little dots here and there. There's a teeny tiny, but they'll be some that are a bit larger as well. When they're in the highlight, there'll be just a bit lighter than these other ones. I'm pretty happy with that one. Okay. Now, I've He just a bit of a darker green to go in here. I've got these sort of orangey color and I'll just edit a bit more. Bent Sienna 20. Sometimes it's hard to say if there's actually even going on there. Okay, bit of shadowing mix into that color, better orangey color. Give it a bit more form to that shape. That one's looking pretty shiny, but to him happy with that, to soften that a little bit. So then it's just not quite as shiny if you soften the edges. If it's a hard edge or make it look quite shiny, they're okay. And the shattering, shattering mix again in here. But we can't say all of it because some of those diamonds are sort of popping over. Sorry, I'll just sort of drop it in here and there. But it really does help any painting, any painting really to have just some areas of really dark. Now, I mean, the light, as I said, the light is coming from the top lift. So you could even darken this up a little more if you wanted to. Maybe, maybe I'll just add a bit more, not shedder, but just a bit more color here, just a bit more of that. Pinky red. Such a pretty color is to just give that a peek. No. Definition there. I mean, you could keep going there. You can do Maine, probably not ours, but they're just does come a point where you have to stop but and you have to make that call. But I think that is a pretty detailed flower. I can't really say much else that I could do with that. Maybe. Build up a little more intensity in here, but then it could get a bit the same, the same. Maybe it could be a little bit darker just here. Also sometimes the steam, the anthers on the stamens actually have a bit of lot. So you might be able to say right in here, there's a little bit of polynomials. So sometimes you might want to put a little bit of mix some white into some lemon yellow and just pop that on the stamens and then put the purpley sort of color over the top. Here I've just got a little bit of titanium white and a little bit of Winsor lemon. I'll just sort of show you what I mean. I don't really want to do it on there. I'll do it. Show you down here. You can just sort of and look, it's a beat our Pike because I've mixed it with the white. So you can sort of puppet on like that, not that big, kept small still. And then with that dark purply color, you can go back either the top and just gives it perhaps a little bit more dimension. Also, I want to use what it does dry, lighter, darker. You think you've got it dark enough and then you don't owe wise. Okay. If you think the style is not standing out enough, once again, you could just put a little tiny touch of watch on that. And if that draws to a lot, then you can go over it with some more color. Actually, what I haven't done is put some imperfections on this one citizen so many day but there are a couple. There's some larger ones and some small ones. So I'm just trying to mix up a shadow mix dark enough. Okay. And just a few little things. Some they don't also so that once I've made that quiet dark there, but I could just get a bit of a grain, for example, and pop that on here and there. And it's going to be a bit more subtle. So all of those imperfections, they not always the same color. Okay. I think that's done. And I just tried.