Painting Loose Watercolor Cone Flowers | Cara Rosalie Olsen | Skillshare

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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

13 Lessons (2h 19m)
    • 1. Introduction

      1:35
    • 2. Supplies

      9:40
    • 3. Observe and Sketch

      14:54
    • 4. Forming Our Palette - Swatching

      11:29
    • 5. Creating the Flower Head

      9:27
    • 6. Adding the Petals and Creating Bleeds

      14:46
    • 7. Softening Off and Completeing the Flower Head

      23:49
    • 8. Finishing the Petals

      9:08
    • 9. Adding Stems and Leaves

      8:04
    • 10. Veining the Leaves

      4:35
    • 11. Cone Flower Bouquet Project Part I

      14:20
    • 12. Cone Flower Bouquet Project Part II

      12:46
    • 13. Bonus - Erasing Pencil from Watercolor

      4:23
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About This Class

SUPPLIES:

Canson 140 lb. cold press paper

Optional: Legion 140 lb. cold press paper

Princeton round brushes, sizes 2, 3, 6 (x2), 8

HB pencil for sketching

Dust-free eraser

Paint colors:

Permanent Rose

Indian Red

Sepia

Lamp Black

Raw Umber

Green Gold

Greenish Umber

Palette (or salad plate)

Palette shown in video by @sylvanclayworks

Cup of water

Paper towel to blot

OBSERVING AND SKETCHING

This really is an integral part of learning how to capture the essence of the flowers we wish to paint. Time is not always on our side, but there is much to be gained from taking 5-10 minutes to study a subject and pencil out a few sketches before laying down paint! Remember, this is all about the process, not simply the end result! 

CHOOSING AN INSPIRATION OR REFERENCE PHOTO

I invite you to select one or two photos from which to draw inspiration. This photo will merely serve as a guide, not an exact representation of our flowers, which we will keep loose and spirited.

FORMING OUR PALETTE/SWATCHING

If you're new to my page, this might be unfamiliar territory, which makes me excited to introduce you to the wonderful world of muted tones. I will show you how I create new, vintage-inspired colors using two or more paints. I also walk you through the paint to water ratio and how to create multiple washes.

CREATING THE FLOWER HEAD

We will explore simple shapes and strokes to create the top of our flower.

ADDING THE PETALS AND CREATING BLEEDS

Here we practice the shape of the petals, observing our inspiration photo, striving to give them a loose, organic feel and study the magic of timing to control the flow of water and paint to create a disruption on color, aka " a bleed." We will repeat these steps several times before moving on.

SOFTENING OFF AND COMPLETING THE FLOWER HEAD:

We will implement a new technique called "softening off" which will pave the way for a dramatic flower head as we add the finishing details.

FINISHING THE PETALS:

We will play around with shading and outlining to give even more interest to our flowers

ADDING LEAVES AND A STEM:

Keeping things loose and simple, we will add foliage to our blooms.

VEINING THE LEAVES:

Adding interest to our leaves by giving them a vein.

** BONUS MATERIAL**

Demonstrating how pencil can be removed after the watercolor has been placed on top.

Meet Your Teacher

Teacher Profile Image

Cara Rosalie Olsen

Floral Designer + Watercolor Instructor

Teacher

 

Hello, hello!

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

A quick intro before you dive into the lessons!

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

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

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Transcripts

1. Introduction: Hello. Welcome back. Oh, my goodness. I'm so glad you're here. This is my second skill share class that I'm teaching. If you are joining me from loose to lips, thank you for coming back. Who knows, by this point, it could be even later. And I may even have three classes. But however you got here just so glad you're here. And I had a blast teaching our last class. Um, this so gratifying to see how many of you loved the tulips class and thank you so much for getting for taking the time to leave your reviews. I mean so much to me. And without further ado, let's just talk about we're going to do today. So today we have comb flowers, which are some of my favorite filers there. So expressive there's so many different ways to paint them. Wouldn't teach my preferred way to do so, which includes kind of some loose and some detailed techniques going a little bit deeper and sort of jumping off of what we learned in the first class. So, um, I would say that this one kind of ranks more along the intermediate level is just If I'm giving my honest opinions. So some experience with watercolor is definitely gonna be beneficial for you. Um, that lose tulips classes that good, I think. Beginning intro if you haven't already taken it. But we're gonna have so much fun today. We're gonna do more color blending are also going to be doing some sketching, which I'm very excited about and just giving ourselves lots of permission to explore this flower and really understand it and create something beautiful together so well, that's jumping with supplies. 2. Supplies: Okay, so we start things off, as always, with our supply list. So let's go over that briefly. If you've taken any of my other online classes, this will probably be a little repeat for you, but we are going to use a new color so we'll go over those. But before we do that, I thought it might just be good to get the most awkward thing out of the way. So let's do that. My nails. Now, listen, I not only put a lot of effort and work into creating an educational class for you, but also one that is aesthetically pleasing. And that includes having nice hands when I come to teach you guys. So all little I fully intended to have my nails redone so that this is not the third video in which you are seeing the same color and extremely grown out nails. I'm still working with pregnancy brain over here, which means I didn't quite make it into the nail salon this week, and I'm going to ask you to forgive me and have grace. So there we did it. Awkward parts out of the way. Now we can get to the good stuff and move on self. First thing. Let's go over paper. We're gonna be working with, um, our people that we've been working within the other two videos, which is cancer £140 cold press. I have already talked a lot about it in previous videos, and so you'll probably sense that I'm trying to find that balance between not repeating material you guys have already ingested from my other classes, but also just trying to honor the fact that some people are probably taking this class first and may not know all of the things that we've previously discussed. So if some of this is repetition for you, I ask that you just have patients and know that there are new people here and they're gonna be like, What's that? I don't know. So anyway, cancer £140 cold press very inexpensive. Gives me a lot of relief when I'm doing work, because I know that I don't need it to be perfect, because I can just replace this pad if I screw everything up. So it's a great beginner pat, but also because just a lot of possibility. As far as creating beautiful bleeds and rich texture. So this is the paper will be working with, but also because we have worked with it twice already. I wanted to introduce you to a new paper. So in our bonus video, we will be using this legion Stonehenge Aqua Cold Press again. £140. And I just really wanted to show you the difference between papers. I mean, it's just crazy the difference that you'll find between working with papers that are smoother and papers. I have more texture. I actually designed an entire watercolor supply guide if you aren't familiar with it, where I go into great detail about my number. One choice is for watercolor paper. And why, um, it's one of those things that you can try out if you want to on your own and just kind of learned by experience. Or you can take what I've learned from my experience and make your decision that way. Paper can be very expensive, and I've tried a lot of it, and I just talk about how you get your money's worth and which ones are worth it. Which ones are not so it's worth taking a look into if you have not already. As I stated in the syllabus, this is kind of a medium grade paper, meaning that, um, the tooth or the texture is in the medium range just to compare. Canceling is more along the lines of a smoother paper. It's still got a nice texture, but you're definitely gonna find on. And that's what these were painted on. Some that there is more texture. And so what's going to need to happen is our technique is going to need to adjust, so we'll talk about that when it comes time to work on our legion paper. But if you don't have this not a big deal, if you have another paper that has some more texture into two, it is not quite a smooth go ahead. Bust that out, and we will just use that instead. Something similar is great. Also, it comes in blocks and pads and lose chief papers. So, um, plus a different possibilities here. I do love this paper and use it quite often in my work. Other than that, we will be using some precious um, Preston um, the majority. I have one creative mark brush here, a size eight, but the majority are gonna be Princeton. We're going to using a new brush. This is the number two, and this is what I call a softening off brush. We're gonna learn a new T a new technique today. So if you have a brush that has more of, like a square or softer point to it, I'm going to recommend that you grab that. If not just a normal number two or number three, something in that range is will work fine. We're also going to using a number three for details we're gonna use to number six is because we will be loading our brushes prior. Something that we talked about in the first video. One of my tricks was to load the brushes, um, preemptively before we began the painting. That way they're already ready to go when we want to create or bleeds. And then I also just threw in this number eight because I never know is one of those things that I would rather have more brushes than less just ready to go. So we may be using this for some of our foliage, or we might be using the number six if I have not quite decided other than that way were we are going to be using a pencil cause we're gonna sketch today to just a little bit very briefly. But I am. How would request from you guys? Thank you for your feedback about the last video and things that you'd like to see. And I'm trying to implement as many of those as possible. Um, without overwhelming the class and steering away from the content. But one of those things is sketching. And so we're gonna be taking just a few minutes, maybe five minutes, to observe our flour and do some very loose representations of it just to kind of get comfortable with the way that it's shaped and positioned. And it will, I assure you, benefit you as we move through the content. So grab a pencil. This is an HB Faber Castell. Also, grab yourself a dust free eraser. Thes air. Fantastic. I've talked a lot about it on Instagram. You can actually sketch out something very, very detailed, laid it on the water color, and then take one of these erasers and go over it. If I have time, I will add it. has another bonus video demonstrating how the pencil comes out after the watercolor has been applied. I've done this on Instagram, but it would be nice to have it saved here. So time contending. I will add that as well, and we will need a cup of water. Some artists prefer to use two cups of water, one for cool colors, which are blues and greens and browns, and another for warm colors, which are reds and yellows and pinks. So if you are that artists feel free to add two cups of water, I typically use one, and I will rinse in between. The next thing we will uses a palette or a K a. My salad plate. You're probably familiar with this by now. I do not typically use a artist's palette in my work. Um, other than the fact that I did not to show you just real quick, receive this stunning palette from a girlfriend on Instagram Sylvan playworks, I will do my best to link her in. The syllabus is, well, who creates these amazing palace? She gifted this to me, and as you can see, it is very loved, and I use it frequently But if you do not have one of those, a salad played or any other palate will work just fine. You will also need a paper towel to blot on. You will notice that this one is pretty loved. I love my paper towels, You guys, I actually sometimes hang them in my studio because sometimes they're prettier than the actual art itself. So just a thought. And I think with that we have covered. I know we have not. Kara. We have not even begun to paint. So let's do that. We will, for the majority, be using Windsor and Newton today. That's my preferred brand. We use the Cotman. Siri's is a professional line that has gorgeous colors. However, I do think the Cotman is just a wonderful and you're not going to be mincing on quality if you decide to use the common rather than the professional. We do have two little stand ins. Here we have a Daniel Smith rich green gold. A little goes a long way with this guy. Very expensive but very powerful, and one of my most favorite colors to use straight out of the tube, which is this greenish number made by Cinelli. Er, this is just like I said, one of those colors that I can you straight out of the tube in my work, which is very where Because, as you know, we like to mix color around here. So anyway, this is the lineup we have Indian red sepia and lamp black Permanent Rose as I mentioned, British number and raw number and then retreat gold. Okay, I think that covers it. If we forgot anything, we will just take care of it while we work. 3. Observe and Sketch: I'm going to be very honest with you. That's just how we roll around here. So let's just come clean and lets you know that I typically do not study my subject thoroughly. Before I began, especially when I'm working with loser. I will, I would say 85% of the time. Unless I'm very familiar with the flower. Study the flower before I begin, like a botanical piece. But when I'm working with loose art, um, the fact is is that if I get too strict of an idea in my mind about the way that something is supposed to be captured, um, honestly, it overwhelms me and that I'm incredibly discouraged when I can't make it look exactly like it does in nature. Um, now, botanical artists, of course, are striving to come as very close to what it is that they see as possible on paper. Loose art just does not work the same way. What we're attempting to do is to capture the essence, they the bones of whatever our subject is in this case, flowers. So, um, I didn't want to just be honest about that for this class. I did think that it would be, um, just fun. Just a fun project for us. We haven't done this yet to just go through, Take a few moments. All I've done is typing cone flowers to my browser. And, um, obviously you can see that I've pulled ups. There's just so many just beautiful images of coma flowers, and they're all so different, which I have to admit. I kind of love. There isn't just one cone flower out there. There's all sorts of different varieties there. Botanical name is econ Atia. At least some of them are, um and you have, um, flaming cone flowers, which I don't think is the technical name, but anyway, so many different kinds and colors. And I just thought, Wow, how much fun? Let's just talk about that for a second. Let's take a minute to just one. Observe just how beautiful they are and appreciate that in of itself. And to let's each of us uniquely go through and just decide to pick out two or three images that, like speak to us as artists. Obviously, your images might be a little different than mine. That's okay. I'm going to try and pick three different ones so hopefully one of them will line up with the ones that you like best. I've already picked the color palette, but you are welcome after this class to continue to play around with your own color palette and use, um, more vibrant colors if those speaks to you vs the muted tones that I use in my work. Um, but scrolling back up here to the top. Um, I really like the look of this one. I just love the way that the pedals are sort of scattered and spread out. I love that they are not perfect, that some are thinner. Some overlap summer shorter were really going to emphasize that when we create our flowers and just make room for the imperfections of nature and how it is a beautiful thing and something to be celebrated. So, um, this will be one that I will just kind of keep in mind. I also want to do a front facing cone flower so we'll come right on top of it. And I'm just really explore like the centers of the flower and the way that they all come out. These petals come out so beautifully a little bit more symmetrical in this regard. But again, still, there are some, like, beautiful imperfections. You can see, um, just with the leaves overlapping and under lapping, there's nothing to perfect about it. Um, I really love also the way that thes one sort of dropped down and really create, like the cone shape. Um, what? This beautiful puffy center, which is actually, as I've already worked through the content, my favorite part that we will create really giving it some detail and some drama again, These ones I love, how they're just kind of coming down and really just like nestling against that stem. So I'm gonna try and at least do one that's shaped like that. And then I think there was from one. I think it was thes ones. I just really liked this center. I just liked how sharp it was in contrast to the softness of the pedals. So anyway, I wanted to take a minute. Just look through whatever it is that you find when you type comb flowers and just kind of study just the picture and pick out a few that you like for structure and shape and then what? We're going to Dio you can pause the video or you could just leap into it with me. We're going to just kind of put down some of those ideas and designs on paper. So let's start with this one. We're going to be using the same exact paper that will be using for our watercolor. However, it will be using it on a pad instead. Cancel £140 cold press. So what I'm gonna do bring you out just a bit here, But you can see everything. IHS Muhamalai ipads it up right here. You have a phone that will work just as well. And I'm just going to take what I see and just apply it just loosely to this page. So I have made HB pencil. All right, so let's start. I really try and be rough with it. No super sharp, sharp lines and just really give myself the freedom to just kind of really just flesh out an idea on paper, not striving for perfection here. So let's start with what I am going to refer to as the gumball shape. I know so festive here, So going to start with that? It's pretty. I was saved. Voluptuous. If I'm going to just use that word, um, and we will definitely be utilizing some of that voluptuousness. Oh, my. Well, so we've now had, um, snoring. Troy was an unexpected gardeners. And if you've watched my video, you know exactly what I'm talking about, which are noises that I don't anticipate dealing with while I'm filming a class in my studio with the windows closed. However, I live in a neighborhood, and in that neighborhood there are Children. And, as you may know, Children cry. So, um, if you hear that happening in the background, cause I surely can, which means you surely can, um please forgive me. I am going to pause as necessary when it becomes totally disruptive. But for the most part, we will just try and work with it because it's life and it's actually part of art. And if you are a mother or have ever been a mother, you know that interruptions are pretty much as common as everything else. So, um, we will just send our love and blessing to this mom who? It looks very frazzled as I see your outside. So, um, let's continue to work through the content. So here we have our gum ball shape. And now I'm just going to start kind of shaping out some leaves again. I'm not going for perfection Here. Have some kind of overlapping, this one here. You can see this one really is emphasizing that that cone flower shape. So I'm really gonna just try and honor that, But I may also just I had my own little thing. I didn't really like that. So might take my eraser. You kind of lose the shape with that little one right there. So we'll just keep that there and go once I have something definitive down. Typically, what I'll do from there is go in and make some bolder lines. So But again, these are just loose sketches. Some of yours might be a little bit softer and really just kind of take advantage of the softness of the pedals, and others might have a point to your feel some of that we're going to lose and watercolor , just to let you know, we can add that back in. But, um, since we're not doing botanical wedding, the paper first and all of that, but more just kind of loosely laying down the paint. Um, we will lose a little bit of that. And then let's see, I see a leaf over here that I like, Dad. And I tend to take quite a lot of liberties with leaves. I really have my own kind of thoughts on foliage. So feel free to when exploring on your own, um, doing what it is that you want to do or following. Exactly. I mean, it's really just totally up to you. Okay, so there we have this cone flower. I'm not going to draw in the little spikes here yet. A Really? I'm just trying to appreciate and get down the general shape of something. Okay, so let's skip out of there. Let's go and do that. Where were you? Front facing Cone Flower That I like so much. Okay, so there's this one, so this it's more symmetrical. I'm not gonna, like, really sit there and try and found out a perfect circle, especially because we're gonna have tons of little spikes coming out, which I will just kind of loosely get down right here just to kind of give the illusion. Then we just began implementing our puddle. So I'm a deserving the shape then coming over here and just sort of but and I'm gonna take some liberties here two guys. So if it's not happening exactly as you see it on the page, don't freak out. And I may go in and like, do some overlapping stuff later when you were starting to drop down a little bit Come over here. Kind of giving them some shaggy, shaggy feel career just kind of put up that one a little bit. Do some smaller ones. Shorter ones. Um, just a side note. Hopefully, I hope you are with me while we're doing this. I know there's a tendency to just kind of, like, rushed through this part to get to the watercolor part. But I hope you're, like, really just kind of appreciating this process with me. And I haven't lost all of you. Um, one tip when we're doing loose florals, we can really gain a lot of depth and movement and size and shape and scope when we play with the lengths of pedal. So as you can see, um, like, these ones are shorter versus these ones that are longer, and so it gives the illusion that we're looking at this flower from a certain perspective. Um, same with goes here. These were these were a little bit longer over here. I'm trying to play with some more smaller, um, elements so that it kind of looks I mean, I know we said dead on, but it kind of looks like it's just tilted a little bit. Can you see that? And just that's it. Nothing that really gets me, like, fired up. It's an artist. It's sparks joy for me if we're gonna just Murray condo what it is that we're doing here. So, um, really play with that? And, um, if you want to take some more time to just sift through here like I said, there's so many different kinds This one has more of like, um, more space between it. So in the gumdrop is a little higher, so we can start there. Um and then this one. There's a lot of space between these Were not my favorite. Just gonna be honest. I may do one. I mean, I plan these classes, but I also try and take advantage of just how I feel as Thea artist and get really inspired and, you know, as I'm sketching it out, I'm like, This is actually kind of cool. Um, but here's the things. Not everything that we love sketching is going to translate when we put water color to it. So keep that wound. It's one of the disappointing aspects of bringing our sketches toe life with paint. Sometimes it's a wonderful thing. Sometimes it's a disappointment. So when I'm like, really sketching for myself and just like, really into the process, sometimes I'll take the pencil and I'll just create some, like Tom richer elements, meaning like I take some time toe like show where there's a divide. I may even put like some lines in there. We are going to be working with some more detailed aspects of loose heart today. I love loser for its freedom and flexibility, but I also love being able to add little special things that just kind of make the pedals pop. So anyway, I hope this was fun. I think this is really going to benefit you when it comes time to actually put it all down . I think you're going to see how inherently just taking this time to study observed, Take a few minutes to flesh this out is really going to just end up ultimately being a beautiful thing. So thank you. Those of you have taken the time to really work through this. And now we will move on to the next portion. 4. Forming Our Palette - Swatching: again. One of the perks in working with the same colors again and again is that I tend to get very familiar with the colors. You know how they're gonna work together, how they're going to blend and bleed and behave on the page. But if that is not the case, and I'm working with something that's relatively a new palette, one of the things along with observing and sketching the subject is to create a swatch palette for it, where I do essentially what you see here, which is to create a line of colors next to each other so I can see how they are going to look as a whole and also how they're gonna react with one another. We're gonna do a little bit of that together again. I am trying to sort of create that balance between those who have done this with me and those who are doing this class for the first time. So, um, we're going to use our salad plate, whatever it is that you have going on your palate to mix up these colors and lay them down and just kind of see how they're gonna react together. We're also gonna be experimenting again with multiple washes and how to take two or more colors and combine them to make a vintage color, which is something that we went into great detail about in the last class and something you can learn a lot more about by visiting my website and searching through the color guide. So it's just extensive and comprehensive. Look at color theory and how Teoh take these colors and turn them into something that's totally new and different. Um, if muted vintage tones don't speak to you and your are is as an artist, then it's definitely not worth it. If you like the color straight out of the tube and the vibrancy, I say, just stick with that. But for today, just humor me and go along as we makes up these colors together. So let's go ahead and start over here. You see that I have two different colors. I've mixed, um, um, on this pallet already, but let's just go through that again. I wanted you to kind of see what it's gonna look like. We have this lighter version which is on the bottom, and we have this darker version, which is on the top. So this is gonna walk you through this right here, Some raw Humber and Daniel Smith, Rich green gold. And what I do is I create two similar versions of the same color. And then what I'll do is I'll load two different brushes up one with this color and one with this so that when it comes time to bleed, then, um, I already have my colors ready. So you see, there definitely are some benefits to having a traditional palette and some wells. Then you're not, you know, working with colors that are constantly running into each other. So there is that although you're gonna be hard pressed to separate me from my salad plates cause they work really well. All right, I am off to the side here, removing some permanent rose that I just palmed my hand into. But it's another one of, um, artist struggles. So, um, okay for brush, What color here. And let's go ahead and just lay a little bit of that. So this is the darker color. That's when you'll see on top. And I also wanted to do it this way so that you could see how different they are when they drive. So now I'm gonna rents my brush off, and I'm going to pick up this pleat again and do my lighter color on the bottom. This is gonna be for our flower head, so you can see the colors are extremely close in comparison. Um, there's really not a whole lot of difference. But what will end up doing is picking up even a little bit more as it's wet and laying it in. So we'll kind of see how these colors go together. They'll end up creating a bleed that looks something like that, which is just really beautiful when we apply it to loose art. So that's from a flower head. Sometimes I'll take my pencil and just make a note and say flower head. And then here we have our actual pedals, which are made up of three colors. First color is permanent rose, which I have in this big old blob over here. And then I have the Indian red, which is right beside it. Um, a little note and we just pas for just a second and, um, mentioned something that came up the other day on Instagram a Nart ist reached out to me and said that she had read an article about how Windsor and Newton paints were not created . Teoh be reactivated, are re wetted once they have been put on the palate that it's somehow Mars or diminishes their integrity. I just want to be honest and say That's not been my experience. However, the caveat is that I tend to like knowing the rules so that I can thoroughly break them. There it is. Um, a lot of purists will say that, you know, so many colors should not be mixed together, and I think, why not? It creates something so beautiful and unique and new. And let's just, um, you know, throw all caution to the wind when were mixing color cause, you know, I'm sure the Rainbow was novel when it decided it was ready to be born. So anyway, that's just my thought. I have not had any issues with, um, feeling like, Oh, well, look, the quality just really plunked down Once, you know, I've squeezed them onto my palate and let them dry, so I typically will only use tubes. I don't use a pan, but I think the suggestion was to avoid that use a pan and, um, you know, on and so forth. So it's something you can look into on your own If you feel like that's an issue with your work, Okay. So that we had the Indian bread, and then we had a bit of sepia in there as well. Okay. As you can see, it kind of creates this really beautiful dusky rose again. Something that could be found in the sunset. Siris of my color rights. All right, so let's put that right here. Request Dorcas. I wanted it, so I'm actually gonna plot back in there. I had a little bit more. Here we go. And then I'm in a rents off my brush, get as much paint office possible and add some water to it because we're going to be using multiple washes of that color. So I want to see what it looks like dark, and I want to see what it looks like. Light. I'm also gonna add a few little water swatches here, and then I'm actually going to be creating a different color, which is something that's fun to do when working with pedals is allowing the two colors to interact with one another. So right here I have a mixture of Indian, red and sepia, very light color. And I'm just gonna tack it on right here. It's the same thing that you see appear so I'm trying to do is just see how all of these colors are gonna behave together. So I love what I'm seeing. I love how all of this is moving and driving together, and I know that this is going to be beautiful once I get everything on the page. Hi. So when we create the little spokes, um, on our pinwheel, um, we're going to do so using a mixture of rich green, gold and raw number. So I'm gonna mix that up right over here. It's going to be the second to darkest color. It's a little golder than I think I would probably preferred it. So, um, I'll tinker with that a little bit, darken it up a little bit, but this colors, we're not gonna be lightened. All that much is going to stay that dark. Um, and I may even and, you know, we'll just kind of go is this is an organic process we don't need to, like, totally have everything figured out. The second we're doing it, I may even out a little bit of sepia to it in order to bring it to that color that I'm searching for, just more brown. And then, for a very, very darkest part of the center of the flower of the top, we're gonna be using a combination of land black, which I have right here and sepia, which is kind of being clobbered by this permanent rose. I will separate those two before it began and really working on the consistency here. I wanted to be a nice, soupy consistency cause it's going to be the darkest and most dramatic part of our flower. And again, this is going to stay super dark. Not really gonna need to lighten that up. And lastly, we are going to create the color for reliefs. This we will do using the tear avert or the greatest number, as it is so called. And that color it could be found on my palette right there. This is one of those colors that I will you straight out of the tube. It is that pretty? I still have a little bit of the sepia on my brush, which is okay, cause I'm gonna actually be mixing those colors. So what I've done here is mixed those two colors sepia and the greenish summer. And so we'll just plug that in right there, so I could see how those leaves we're gonna look. We end up doing some really bleed e pretty foliage than those will go great together if we want to. Just lay those colors next to each other. That'll look beautiful. A swell to do the veins of the fire. We will come back to this sepia and lamp black, perhaps making even a darker version of that. So here you have it. This is pretty much the bulk of our palate. We have our flower head. We have our pedals to colorists, plus another, we have the spokes, we have the darker elements of the spokes. And then we have our full which so again, just something to think about and consider. When planning out your floral pieces, I think that it always eyes beneficial to go that extra step and, um, take the time to plan out your palate and not just be surprised sometimes pleasantly. Sometimes it's not when you get to the page, So okay, we're gonna work on shaping our flower heads next. 5. Creating the Flower Head: Okay, So we are going to begin experimenting making our flower head, which, as I mentioned, um, well, we were sketching is kind of in the shape of a gumdrop. If we are looking at it from the side, if we're looking at it directly on its more of kind of a asymmetrical circles, so you can see I have set examples or for here. I just wanted Teoh put out, so you can kind of just look at those, but, um, don't look very different than what we're doing because there's actually in multiple steps that we're gonna be utilizing. So, um, I'm gonna be using two brushes. This is something that I talked about in my previous video about how I will load up brushes with color so that they are ready to go. So, um, doesn't really matter which brush you use for which color I have a two and a three. This is my softening off brush, which is, um, a little bit more so just square in shape. It doesn't quite have the same point. Um, but it's gonna work for purposes here. It doesn't need to be an exact shape today, so I'm not really concerned about it, you know, not holding its points. So going to dip into the two colors that we created already? Which are those two yellows and browns down there? Um, excuse me. The one year on the brown down there, I'm going to pick up the yellow and kind of a Hershey kiss gumdrop shape, and I'm going to start filling it in. I'm gonna leave a little bit of white there to kind of emphasize some light touching. Then then pick up my other brush dip into that darker version of the color. Haven't add it right in here. I'm gonna allow those colors to kind of lead and mixed together, blotting off both colors and just kind of encouraging thes two colors along. I like that. I probably wouldn't do anything else to it, so I'm just gonna keep repeating it so you can kind of see the things it's do one that's kind of more facing this way. That's gonna be the idea what the's is shaping them so that they're facing different directions to give some sort of versatility. So I laid down that initial light color. Let's put the dark on this side this time immediately going in and just kind of encouraging that color. Let's do it again. Picking up that yellow pretty make that one a little bit more or circa Lee, but still gumdrop shaped. I'm just gonna coloring it in. I could see how beautiful that is. Side note. There is definitely some art in being able to time a bleed. You have to make sure that your paper is not overly saturated with water or the colors. They're just gonna puddle in pool, and you have to make sure that it's not dry. This takes time. This takes experimentation and just practice. So if it doesn't come naturally, take some moments before we leap into the next part and really get this part down. It's going to age you in future videos to something I do is I get eye level with the paper and I look for a sheen or a glisten. Um, if I did receive one constructive comment on my last video, things you'd like to see more of. It was more examples and tips. I feel like I'm pretty good about throwing those out while we're working. Um, I did actually reach out to a couple of you and said, Can you clarify? I love to be able to just improve on what it is that you know what we're doing here. And most of you, the three of you just said I just wanted more. I just wanted more like more flowers and more, more things. And I was like, Ok, well, that's great. We're definitely gonna be doing more in the future. But that class was specifically like on tulips. So, um anyway, if when you do, give me some feedback, I would love to hear the wise behind what it is you say I am. Hopefully you can see you're trying to just include your thoughts and your wishes and hopefully you feel that. So that is only number one tip when creating a bleed ISTEA magic of timing really thoroughly understand that. Get down, I level Look for a glisten if it's soaking wet, not ready If there's no glisten too late, so really get familiar and compete with that. Okay, so that is the general shape of our flower had Let's do one debt one. It's just gonna be a circle, really nothing so special about that. But let's just do it anyway. Could see I'm still kind of in like a gumdrop moan Over here. It's around this out a little bit. There we go. You can see it's really light color. There is a reason for this. It's because what we're gonna do over here when we go to add these details, we want Thies to really stand out. Pop, if this initial color is too dark that we're not able to do that. So I am being I'm going sparingly with this second color. So like I mentioned, we're going to be using four brushes. We have our number two and number three to do our flower head, and we have our to number six is to do the flower petals. So right here is where we have the permanent Rose sepia, an Indian red. And then here we have a paler wash of that color, um, using primarily just sepia and Indian Brett. So I've kind of omitted the permanent rose. There's a little bit in there, but not much. I just want you to have what are too similar colors, but not exactly the same cause. We're gonna let these pedals sort of run up against each other and create a nice little contrast. And then here we have the two colors that we've just been using for our flower heads, the rich green gold and a touch of remember and then here, heavier on the rock number. So we have our brushes ready. I'm gonna pre load them so that they're ready to go. So whatever brush that you want to use is fine. I have my smaller mice point my less pointy brush for the rich green gold. Then I'm gonna use my number 34 the wrong number. Okay, So the things already and then what I'm noticing here, Here's another tip for those of you who love tips, what's happened in the time it's taken me to just talk to you, um is my piles have started to dry up, so I need to just sort of awaken them and see how that there's just all like that. I needed to be we more wet. This is something that I talk about over and over and over again, as I teach my watercolor loose florals workshop to be mindful of the puddle. Ah, lot of people the majority of people do not add enough water. That is what I see. I walk around and I go Not enough water, Not enough water, not enough water. So give it. Water is a reason way. Half of the word in this style is called water color. That water is important. Okay, this is often the sign. My towel, my paper towel. My cup. I am ready to go from one angle things just a little bit so that I could get a better angle . We talk a lot about this and just being able to get range of motion. When you're painting, that is the most important thing. Okay, here we go. With our gumdrop coloring in, I'm going to dip into my brown and those brushes off to the side. This is very wet, very saturated. Which means I have plenty of time to pick up my two brushes and get in there 6. Adding the Petals and Creating Bleeds: to try and get the best angle here. I always want you guys working from an angle that gives you the best range of motion. So whatever that looks like, we're just going to start creating some pickles. Try not to be too over thought about them. Just give yourself some space and permission to kind of just play around with these first ones using that Indian bread right next to it. This is looking a little bit too stiff for my preference. Just thought I would put that out there. Um, we do shake things up a little bit when we go and add some shading. But as I'm talking to you through this, I can just kind of feel that doesn't quite have the organic nous that I'm looking for in a tryin make some things a little more wild. Okay, so that's what it looks like initially being laid down. I'm gonna do now step back into my permanent Rose sepia hand Indian bread and just create a little bit more of some bleeding action here. Then what I'll do is kind of encourage things along here by using my other brush. So there you can see It's kind of all about timing and just optimizing the paper when it's wet. Um, we have some beautiful bleeding into here. Don't want too much of that if I'm being honest. So you could even wait until things were dry if that works for you. Um, the reason for that being is that we're gonna add in some really, really pretty dramatic element here. I don't want those being overshadowed by two dark of pain. So anyway, that's that. Let's go ahead and do that process again. We're gonna repeat it several times until we get something that just starts to feel a little bit more organic. For example, when I say that I kind of mean that I really like the way that this one shape this is on different papers. So we'll work on that when we get to that project. But I just like how it just has a little bit more of a wildness to it. That also happens when we put in some extra colors and shading down here. So, um, those things will happen. I try and be patient, cause things were just still drying and on all of that jazz. But sometimes I could just be that I can just know that it doesn't feel the way that it should feel quite yet. All right, so let's walk through that again. Picking up both colors and then I have my brushes for ready, ready to go with the color. I'm just gonna kind of reactivate it everything again. Just so it's kind of fresh on here and it's gonna start over here. I'm already feeling like, Okay, a little bit more comfortable. Things are a little bit more sort of just wild and looser here. And I'm just sort of alternating colors, too. Yes, I'm liking that. I like how everything just doesn't have a perfect shape to it. I'll tell you what else I like about it. I love how these colors air. Having an amazing relationship right here. Yes, a relationship. And just totally, beautifully bleeding together. And I like how this is not being overwhelmed by the pink, but there's certain moments where it is. So that's what I like about it. I think that that's a really solid start. Um, when we go into Dad, some details, you know, I may just kind of add in some areas where I'm like. Okay, it's a little sparse there. Let's fill it in bit. But as you saw it when we were observing and sketching there some that have some super space in between them. So let's do one like that. I just want to note, For the record, I have not palmed my hand in a puddle of paint, which is kind of an achievement worthy of being mentioned. I'm just going to say that OK, have to give myself credit where I cant cause pretty much I just make a lot of mistakes. Okay, let's try that. Can Cooper here this time and here we will just kind of try and play with the idea of their being a little bit more space in between things. These are no different from the strokes that we have been implementing in previous videos, simply a double stroke downward. So we start with the very tip of our brush, and then we connect it with another equal stroke, leaving a little bit of white space in the middle. She may switch to Indian red, so we start with our brush. That's pretty much kind of, um, vertical, starting with the tip And then we gradually add some pressure coming down and connecting it really trying. Teoh, leave some space in between here, but it is difficult. I want to fill it in. And I love you know, the bleeds that happened here. So there's a part of me that's, like, No resist. Okay, so this one kind of has a little bit more, um, space in between, but not a whole lot again. It's up to you. You get to be the one to experiment with what style you like best. Let's do one. Actually, let's finish off this one by adding a little bit more color. I kind of liked how light it was. So I didn't continue adding more color here again. Like I said, we're going to kind of just, um, go along as there were gonna, you know, experiment as we move along. And I'm not gonna overly be like, Oh, well, I said I was going to do that, Um, because, you know, different things happen on different days. It's not always gonna be the same. So what we're going to be doing, which is what I'm kind of waiting for, is adding some drama interests And so I wanted to kind of just be really, really bare bones when we get going that way, we have lots of room and space to add those special details. So Okay, let's do our dead on center. This one was actually my favorite one when I was working yesterday. I don't know why I ended up loving it so much. Um, I don't think I showed you guys. I just felt in love with this one right here. And I'm really think I'm going to just kind of play with that. This is very, very detailed. I'm not sure if we're gonna go quite that detailed, but, um, I definitely just want to give you a little taste for it again. This is loose are. So I'm trying to be respectful of the title that I've given this class. I'm not overly detail. If I thinks if that's a word L a Let's look over and put it right here. Okay? So this was just kind of an asymmetrical circle. I'm not really gonna try and make it perfect here. And I'm just sort of scrubbing the color in moving my brush on its side, scrubbing lightly until I have something that's kind of pale and then adding a little bit more color to it. So I just wanted to mention that I'm painting things a little bit bigger than normal. Just cause I know most of you are probably on your computer where you can maximize things. However, if you're working with an IPAD or something, that's just smaller. I just want to make sure that I'm accommodating you as well. You're not invited. All right, so now we're picking up our other brushes. Two number sixes, and these were gonna be a little bit different. They're gonna be a little bit chillier, a little more. Um, cushion in the pushing. I was totally inappropriate, but I'm gonna keep it in there anyway. I like a juicy looking flower. So we're really going to just kind of play with that and move around again. We want to try and not make things too stiff and stagnant. So really going Teoh. Just try and be loose with it. Don't make things overly overdone. Okay? Picking up some of that Indian red 10 again, just really trying Teoh not get to stuff with things. The petals always start off way too controlled. And I have to tell myself in mind myself. Just let it go. As I tell my daughter when she is sitting on the potty trying to make some business happen , just let it go. Let it go. Sometimes it works. Although I'm sure that creators of that movie never intended for that song to be used for those purposes. But I will. Thank you anyway. Okay. All right. So we have a beautiful sort of miss shape in flower that we have toe work with. Um, let's do that one more time. Just because I don't love it. I like it, but I don't love it. Now there are dogs barking in my neighborhood. Never sure exactly what you guys come here. But if you hear a small yapping zone, that would be the darling little Maltese making his way through our neighborhood. Okay? Scrubbing our color and there and adding a little bit of water, just kind of light things up a bit. I had back in a tiny little bit of color just to kind of give it some drama and then we'll head in with our colors. Here we go. Mixing up on the side and add a little bit of Indian red first this time, no, at a little bit of pink in there. Try and do some overlapping and also leaving some space. Sometimes that's really pretty to show where the lead the pedals are overlapping. And then where there's, like, a gap between them just to really kind of maximize the authenticity of that flower again. What kind of leave room for those details toe happen? Hi. Here we go. Pretty Okay. Pretty pleased with that. I hope you guys were pleased with you. The results on your end gonna let, um, that part dry. And, um yeah, that's something we want to be thoroughly sure of before we go in. And add any details is just making sure that things are very dry. And now we will work on this next portion of the video, which I am excited to tell you about. 7. Softening Off and Completeing the Flower Head: So I tried this last time and our music shut off. However, I'm going to try it again, since it would seem that, um, this dog is pretty much parked in our neighborhood. And I don't want you guys to have yapping in your ear while we're painting so little Mozart to go with our cone flowers. Now, this is something I'm excited to show you guys about. That's another one of my tips. You hear that? More request for tips and examples, people here it is. So this is my softening off brush. I've already talked about it. It has a night little, squarish, soft, blunt edge that allows me to do like some kind of scrubbing action, which is what I want to do because I really want the edges of my cone flower to be very faint because what's gonna happen is I'm gonna put these little spikes along the edges of them. I don't want it to. Pierre is, though they're just kind of shoved up against this edge or barrier. I really wanted to have, like, this natural, like the spokes or in between, um, the flower head. If that makes sense, might be easier if I just show you. Um, so in our example Page, this one ended up being my favorite one. Um, you can kind of see how all the little spokes were coming out from the side. And, um, it just allows for when you in the eye sees that there's no barrier when these little spokes air extending from the flower head. So it'll make sense as we do it on paper. If my verbiage is not making sense. Okay. Take your brush. I want you to dip it in water. I don't want it to be too wet, but I wanted to be damp. What? I want you to dio used to start rubbing it along the edge of your cone flower back and forth, back and forth. This one we did quite dark. Well, darker than I actually intended. So what I'm doing is I'm going to continue toe, lighten it up, blotting off my paper towel over here so that you can see I'm dipping in my water, picking up water, coming along the edge and just scrubbing it until you can't almost can't see where it ends anymore. It's almost blending in with the paper. We're lifting the color and were softening off the edges. This is also a good way to lift color out of something that's too dark. It is a delicate act, and sometimes you can compromise the integrity of the paper. Um, but when done correctly, it's really beautiful. Don't be afraid to push in. This is a scrub brush. It's one that I keep primarily for this purpose. So don't use one of your nicer brushes. I'm just going to do it up until where we reach the pedals. Scrub, scrub, scrub into water thin. Trying the paint off Kinda You kinda can't see. You can see this line here, but you can't see where the barriers, which is exactly what I want. Okay, so this one is done. I'm gonna let that dry because we cannot add details until that's drive, we're gonna move on to this one. Something got in my here. I'll show you how we do that. See that little blemish? Therm? Now you don't scrub scrub, scrub, lifting that color out. That was an unintended issue, but I'm glad we got to work through it. It's a great way to lift up mistakes from the page to. I didn't even mention that. So here we go, your brushes damp and we're scrubbing along. That barrier can kind of see it gives it this really smudgy appearance, which is what I love. I want to get to a point where it's almost blending in with the paper itself. The one thing you need to be careful about is that the yellow does not bleed so far into the white that you lose your shape completely so I can take school practice. You're wanting to just go over the edge, Okay, I'll do the last one on my own since you guys have watched it twice and we will go ahead into these flowers over here. So same concept, eliminating that hard edge until it all sort of just sort of blends together. Had I been wanting to do more of a wet into wet, I could have easily alleviated this whole thing by dropping in the color when the center was still wet. But as I already mentioned, I didn't want the centers to be overpowered by that pink because we have other things to do there. So I hope that watching this process has been educational for you and will help you in some manner regard with your own art. I know. For me, when it was brought to my attention that I could do this. I was like, It's a whole new does Leading place had never be. Didn't know you guys were getting dinner. Anish, did you? Okay, just about done with that. Okay. So you can kind of see it's just this smudgy beauty. Full yummy nous happening together. Okay, I'll do that one as well. But I'll do that one off screen just cause, um, ready to just kind of keep moving through it. So prepare all your flower heads, and then we get to move on to what is my favorite portion, which is to add interest in drama and details. Okay, If you find it helpful to have your picture of inspiration or reference picture next to you , go ahead and grab that and just have it laid out so that you can kind of just be looking at what it is that you want to dio Um, I find that that definitely can be helpful from doing especially loose art, that I may not have anything out, but for this purpose today, since it could possibly be something new. I think just having an example in front of us to refer to and look over at every once in a while is beneficial. So minute, I'm just kind of off to the side here as I work to get a good angle and, um, be using my number three. Brash said. My pointed won. So the other one had that blunt edges have a really nice point to it. And what I've done here on the plate is mix up some raw number and sepia, pretty dark consistency. Refer back to our swatch palette if you need to to kind of get an idea of what we're working with, color wise. And, um, I just want to mention here that there's no right or wrong way to do this. There's going to be some that you like more than others. That's just always part of the deal. So if you overdo this one not a big deal. We'll just keep working and, um, eventually you'll find What is your happy place? Okay, so the way we're gonna do this is we're gonna take our brush using mainly the tip and we're going to create thes beautiful little spikes. I typically will work my way from left to right. I'll start with this side, and then I'm gonna come in down here, do the middle section and then work my way up this way came picking up a little bit more pain because it's a little soupy. So you just kind of direct experiments, not quite as stiff and sharp as I would like it to be. Here we go, alternating doing small and whiter little strokes Come taking my time with this, too. Towards the middle of the spokes. Get a lot thinner because you're looking at them straight on. So I tend to just do dots for those versus the ones that are coming out down here. You can really see how they're coming out. Now what? I think the issue. Years, I thought this was dry. I mean, I ran my hands over it, but it's still actually a little bit wet. So that's why I said, Be thoroughly sure. Um, I'm trying to work with a limited daylight schedule, so that's why I personally, um, working a little bit more prematurely than I would like to but you could even run like a hair dryer over things. If it's not quite dark enough, I don't mind, because I'm gonna be adding in some darker elements as well. So not a big deal. But just if you feel like it's like, Oh, it's not quite a start, That's probably why. Okay, more dots down here trained not to overdo it, but it happens. I'm coming back in now. What I'm gonna end up doing is cuddling up here. I'm gonna start doing the ones that are coming out down here. So they're facing a different direction. Let's go ahead and really pick up quite a bit of that raw number. I want to be pretty soupy. Arms are pretty cough, sir. Be for talking about consistencies. I find that the less I think about it, the quicker I go, the easier it is for me to just not overthink it. So I would see that that one's pretty much done. Um, for this layer, we're gonna go in and add some darker elements in a little bit. But let's move on to our 2nd 1 Hopefully, this is a little bit drier again . Like I said, there really is no kind of perfect way to do this. I want you to feel free to kind of just experiment. Really? Come up. That's my only tip is to really come up on the tip to get those really fine and then press down at an angle to get those chunkier. Okay, I like where? That once that there you go ahead and add the lower spokes. This is why I did not want there to be a barrier because I didn't want it to look as those . Um, there was something sort of impeding these little spokes. Okay, last one. Hopefully, you're finding this process sort of therapeutic. Teoh, this is the part. I can actually just feel it. I'm just slowing down. I know. I'm nearing the end. I just feel like, take my time. Really? Just play with it. Yeah. - Now you'll notice when you look at your actual reference picture that the spokes are all over the place. They really are, and they're very symmetrical. But I find that when you try and do that with whose art just us not translate. If you try and pick up every single detail that you see in a picture. It's going to come out totally and completely overworked. Does every time botanical work. You have a little bit more luck getting closer because you're waiting for things to try. And it's all about layers and whatnot. Um, but here, moose are not a not the same thing. So that's why you see me leaving some open spaces. Because, um, it's just about picking up the important details and just capturing the essence of hi back to number one. And we're going to add even more detail this time. We have sepia and lamp black again. I wanted to be pretty thick. I want to look something about like that. I'd say I've reached the point where I'm happy and I'm gonna go in and just pick certain spots to really emphasize, not going to do everything I'm gonna do, even less than what I was doing with these. And just pick my moments. Start with down here. That's it. I'm really not gonna overdo it here. I'm just kind of picking some moments to really emphasize and kind of, uh, pull apart. This step is totally optional. If you feel like, you know, I kind of like where I'm at, then by all means. But this is kind of the part where I wanted to show you how loose art can kind of lend itself towards something a little bit more detailed. Could be careful of this pain, which is still drying over here. You definitely meant recommend waiting until things are it is a dry as possible. Okay, - okay , so there you have it reliving that. Let's go ahead and do our center Oops! Footbe around back at the beginning with that number and mixing it up, getting into the right consistency. These will be a little bit darker, cause these have had a lot more time to dry. I usually start with those that are in between the pedal, so it's just kind of my go to just to kind of get myself a little road map. And then once those gaps are filled in a typically just start working my way from the center out, try not to be too rigid with things here, and the little spaces create areas where it's more dense and then also areas where things have more space. You could really take a long time to just kind of look at the flower. Look back at what you're doing. Um, groups shaking you guys all around. Um, and just really I kind of appreciate the beauty and detail of this flower, but can it's loose are and just kind of capturing the important elements. Usually just kind of move my way around, Mary once it's kind of filled in to a point where, like, it did back into that sepia in that lamp black and at a few little darker moments. - Crazy . So I like that. I'm not gonna do that one. Do that one later. But I just wanted to see how one of those is done. And, um hopefully this is really kind of just opened your eyes as faras the details and the possibilities. And next we move on to shading. 8. Finishing the Petals: So this is another one of those aspects that you can really take a Sfar. Aziz, You want to, um you may get to a point where you feel like you overworked it, because the details, they really are just that they're details. They shouldn't be the most overwhelming and alarming thing about what it is that you're creating. So I think there's gonna be some element of needing to experiment and just being like, that was too much or, you know, that wasn't enough and kind of just playing around with how detailed you want to make something. So, for example, when we were looking at these, some of these have quiet a bit of detail and, um, other ones, not so much a little bit more demure. So, um, again, I just I want you to feel free to kind of experiment and do what feels good to you. I will show you a couple of tips in the way that I add details, and then you can kind of take that and run with it. So I mixed up just a darker version of the color that we've been working with, which is that permanent rose sepia and Indian red have been a medium color. So this is pretty dark over here. That's pretty light. And this is kind of medium. That's what I want when I'm working with sheeting, What I'm gonna start to do here and also gonna take my softening off brush because there's gonna be moments where I create something that's just a little too dark. I want to soften it off. I'm just gonna begin to start here. And so this is where it kind of stopped. Things are nice and wet. Do a little blending here, soften off here a little bit ahead back in some more shading. Okay, so that's it. I know it's one of those things that it's just so minor, but it really does help to just kind of bring life and freshness to the flower. There's no particular way to do this either. I'm simply taking the tip of my brush and running up against the edges of the puddles. I do it in this sort of quick flick E manner so that it's not over thought, and I just let it be. I may go in and even add, like, a little bit more color but we're even gonna take this one step further and add some lines down the middle, so I'm not gonna overdo it. So let's try this one, and you may decide, like, Oh, it's ruined. I like the simplicity of the way that it looked, you know, without that that is so something that you can decide at the end of this. So, um, please feel free. Try not to ruin the special moments, too. Like that beautiful bleed I was talking about and just kind of letting things happen and then softening off where things were just a little bit too dark. There you go. I would kind of leave it right there. I think that looks beautiful. Maybe a little bit right there. Yeah, let's go ahead and do this one, and then we'll add a little bit more interest. And this technique is all about just giving a little bit more depth and movement in life to your flower and something that is stiff and stagnant and on the paper. Okay, so there's that kind. The next step would be to dip back into that puddle right here. That's our darkest wash. And I'm gonna add just a couple little lines down the middle, alternating dark and light. I'm really just kind of running my brush over the top to create some loose lines. Nothing too stiff, nothing to planned, but a rinse off my brush a little bit so that not every single line is quite as bold as that one go. Same process to be back into that darkest wash, just really loose with it, just kind of grazing the tip of this of the page or grazing the surface of the page. Excuse me, could decide. You don't even want to do every single petal. That's fine, too. But you can see how these essentially were very simple. And we've turned them into something that are a little bit more involved. Okay, go Same process with our circle flower. This time I'm kind of running up against the edges. Gonna come up against the sides here, adding just a little bit of interest on the edges and in between the pedals. Alas, I had some in between Er's as I like to call them, careful that you're not running your poem into something that's, um, I just realized that I'm doing the wrong one you guys I didn't use understand one. All right, let's start again and do this one. Good grief. It's been a long day over here. Okay, Come. I think this is one of those things that, like you, either love it or you hate it. You're like, Oh, I love how this just adds more depth and detail or you're like, No, I really liked it. Just simple and clean. And that's think that's so great as an artist. You can figure that out. What kind of where you kind of air on the side of details again. We can't take it one step further. Dipping back into that pile and creating some maybe not doing all of them, but kind of picking again. Choosing your moments. Okay. Those always are my favorite. I don't know what it is about them, but I just think they look so pretty and so much fun to just add details. All of those special things that just make loose art so much more fun when you can add those layers. So I hope that was fun. I hope that was insightful. Um, and now we get to move on to stems and full itch. 9. Adding Stems and Leaves: Okay, so this is just something to keep in mind. Typically, when I'm working with loose art will figure out what is the most detailed aspect of my subject, and then I'll try and temper down the remaining portion of it. So since we have this beautifully detailed flower, I would say that let's go easy on the stems and the foliage just to really highlight and emphasize just the beauty and thought that we put into this. So, um, that's just my thought. If you decide you want more details, by all means at them, you can see here kind of experimented with different layers of details, doing both light stems, heavy stems, adding some shading along the edges. I also did, um, some really just small small stems with a little squiggle eases foliage. And then I did some bigger leaves here. Um, it's really up to you is the artists. I kind of just want to give you different things to look at. And then you can decide whether you like this or like that. I tended once. I kind of figured everything out to really like these pale ones up here against this. Just the dramatic nature of this flower. So that's kind of my poor offense. That's what I'll be going for. But what kind of, um, looking all of our options as we're moving along when looking to make a stem, The most important thing you can dio is to figure out where the center of your flower is and if there is a direction in which it is pointing. So for example, this one right here, it's kind of stead center. But there also is just the hint of it turning towards the left here. So we're going to work with that and imagine that this is the center of our flour and we're gonna come down and just give it a slight little bent angle so that it doesn't look like a being poll and totally stiff. So you can see I have mixed up a little bit of the greenish number, which is a color that I use straight out of the tube. E have it loaded up on my brush and I'm ready can This is my center. So there you have it, just very simple. It's pretty. It's a thick stem. I wanted to kind of give you guys some different looks at thick versus thin, so that one's a thick one. And let's move on to this one. This one, if you look at it closely, is pointing to the right. So we're gonna optimize that we're gonna come the other way with interest in this time so you can see it's not straight up and down. There's just this little element of bending with this one. I think what I'd like to dio is really maximize the bend to it cause it has the same sort of appearances, this one which is coming up towards the right. But we also can't take advantage of our positioning here and really just go for it. So there's another thin stem again. If you wanted some more detail, you could come right up against it and just add some more details. It's really up to you as far as what you like and what you want to see in your stems. As for the foliage itself again, we can kind of just play around and experiment with that. So taking the tip of my brush going to create nice little stem there to that coming up, adding a little stem the press down, give it a tip and come back to middle. Give it another tip here. I'm gonna imagine that there's a leaf coming out of flour, Not another one and really just kind of trying to give this flower additional movement and life. That was a little less perfect kind of love that we practice leaves in our initial video. So if that's something you need a refreshment on, by all means, Go ahead over there. 21 over here. I really like this pale green up against the contrast of these colors. You're gonna do a little bit more of a flick, E feel So let's do somethin just sort of like, I don't even know what you would call these. Just a one stroke. I'm taking my brush, making a tip, pressing down, coming back and just trying to be sort of quick and loose wif it. Let's do another one up here. Basically, I'm just taking advantage of different pressure points of the brush, pressing down, lightening up. And what we come up here and creates more make a little stunned there, really liking the way that this one's looking like Finn and I also like the pale translucency for this one. Why don't we work on some bigger leaves so we'll make a little stem really pressed down on our brush? Excuse me? I was off the page their bit and come back over. Complete that leave. Try that again. Stem pressing down to a tip, come back leaving that space in the middle and finishing it off the same thing appear Tip pressing down to tip. Come back. Leave that space in the middle and finish it off in your paper around as needed. Makes him really long, Long leaves there and again. Just sort of experiment with leaves. Appear to you don't need to be perfect So give yourself permission to make some funky leaves And if there's certain spots really like I just want to see more You can continue to draw out certain details and just kind of go crazy with it. Really? It's up to you. Now. I'm gonna be honest with you and tell you that this is where I would stop. I really like the way everything is shaping up. I think the pale and just the less intensity of the stems is a nice contrast to our flowers . However, I did put in the syllabus and to talk about feigning or leave. So we are going to do that just because I said we would and go over what that would look like. I will dio thes ones doesn't really not really appropriate for painting, so we'll do lanes and these two once they're fully drunk. 10. Veining the Leaves: okay, My leaves are fully dry, and I have mixed up a little bit of our sepia and raw amber. I was gonna add a little bit of lamp black to it. However, our leaves air so pale that the vein is really going to be striking all on its own without it needing to be this extra dark colors. So I decided to lighten it a bit. That's just something that you can dio if you decided things were too dark. That's where this watching is always good to see how the colors are gonna look up against one another. So have my number six fresh. This is really such a versatile, um, universal brush. I use it for pretty much everything. If someone was to ask, What size brush do you use most often? It was definitely be my six. And the Princeton brushes were so great because they have such a nice tip toe. Okay, so let's do some feigning. We'll start over here. What I do is I start with the very, very tip of my brush, just a tiny little bit of pressure. And then I gradually increased pressure to thicken up the vein in the middle and then again , lighten up and come more to a vertical positioning. This leaves really wasn't quite big enough for two veins, but I went ahead and did it anyway, just because I want you to see what it looks like and how different it it looks. Once we have some veins going, do this one. You can be a little bit more shaggy with it and not so perfect. It's a really, really light, loose flick. If you spend too much time going super slow, you're going to get this overdone vein. So, really, practice the looseness of it. Keep your wrist loose. You can come. You can work your way from up to down, or you can work your way down to up. Either one is fine. Whatever feels more comfortable to you if you want it even more detail, because I just want to show you what your options are. You could come up against here and start adding some details. So there you go. I think that's too much, to be honest with you, but I just kind of want you to see what it's available. We're gonna leave this one alone because it really just doesn't have an opportunity for rangers to then. - Okay , so there you have it. I kind of gave those Want more of a shaggy or feel on the other ones have more of like a definitive point to them. So it's up to you. Which ones you like again? It's all about coming up on that horizontal excuse me. Vertical tip and pressing lightly and then gradually increasing pressure to create that middle portion and then coming back to tip. Okay, so I'm so proud of us. That was a lot. A lot of content toe work there today, and I just obviously, I'm not in your end, so I can't see what you've been doing. But I just want to thank you so much for investing And, um, just everything everything that we've done here today. So, um, we are going to do our class project, which is to work on a different paper, doing the same subject matter which I'm totally excited about. It's gonna give it a whole different fields. So, um, let's go ahead and move into the final portion of our class 11. Cone Flower Bouquet Project Part I: Okay, so now I am going to again fainting this just very loose representation of the cone flowers that we've been practicing. But I thought for a fun at a twist, we were painted on different papers. So this is the paper that I was discussing in the beginning that says elite, This is Legion £140 cold press paper. And, um, it's got a really nice to To it. It's not overly grainy, which can make, um, watercolors a little bit difficult to control. And it's not, you know, status, smooth skansen or any sort of hot press paper. So I'm a sick and nice middle grade paper. I use it a lot in my work, and, um can also get a pretty good bang for your buck. So this is a watercolor block. I believe there 16 or 20 pages in here, and typically asshole run somewhere in like, $16 So we will be using all of the same colors that we used in our leading up videos. So nothing new there. I have loosely sketched out just the general shape of the flowers and will begin applying the watercolor on top. And, um after dance and music. So enjoy that. Or you could just mute me and turn on your own music and follow alone. So let's begin. - Although we practice in our video doing are waiting until the centers were fully dry before we went in with pedals. Just for the sake of the flow of this video, I'm going to be just doing a little wet and toe wet, so there will be a little bit of bleeding here. But you may find you, like, better than waiting until things were dry. I'll still go around and soften off the edges, but, um, we'll see a little bit of yellow pour into these flowers, turning around here just a little bit so you can get a better angle. - Yeah , And now I'm gonna do the remainder of this softening off off film Just cause you've seen this process so many times now and then I will come back when it's time to add in those centers 12. Cone Flower Bouquet Project Part II: and oh, this No . Okay, - okay . My friends, this concludes putting together are loose bouquet. As you can see, I moved really quickly, pretty much just streamline through The whole thing didn't stop. Obviously, when I'm painting, I'll usually don't take a breath. But I just kind of wanted to give you that fluid, um comprehensive feel how it all comes together. So if you have not already tinkered with a different paper or even legions specifically, I definitely encourage you to give it a try. It will definitely stretch you and grow you as an artist working on different papers. I know I tend to get very comfortable with a certain paper and know exactly how much paint to use and I get in this company spot on. Then I switch papers, and it's like a whole new world, sometimes a frustrating one. But I think it just office also just opens up a lot of variety and versatility, depending on what it is that you want to paint. So, um, I had so much fun teaching this class to you. I love how these turned out. Even a rapid bouquet like this that took I think about 15 20 minutes. Love, love Just how it turned out. There is just this great mix between very detailed and loose. And, um, I can only hope that you have as much fun. I'm learning it and apply. It is I do, um, teaching it to you. So please be sure to upload your projects and tag me on instagram that, um hashtag Rosalie going pay Paree or you contact me the same handle. And I would love to hear any of your feedback. So anyway, thank you so much for being here. You were lovely class, and I will see you on the flip ity flip. 13. Bonus - Erasing Pencil from Watercolor: Okay, Different nails, Different photo. However, I really wanted to put in this last little video showing how you can easily remove the pencil after you have played the watercolor on top. So, um, let's do that. Nothing really fancy about it. The only thing I do suggest is buying a dust free or race, or you can buy him pretty much on any art supply store. Even if you go to your like your local Michael's or arts and crafts store, they should carry them. Um, there's tons of different brands. I have a bunch of my really can't recommend, like one over the other. They're all pretty much universally the same. So um yeah, not like a number two. Put it on your put it on top of your pencil eraser. Get get one. That's an art supply. A racer other than that number to tip, is to definitely make sure your painting is completely drive. I can't tell you how many times I have prematurely erased pencil mark thinking things were dry or just kind of actually knowing that they weren't but just wanted to keep moving and playing forward and in patients did not pay off so do wait until the paintings dry or just take a blow dryer and lightly go over the painting and can usually tell if the paintings went just by getting on eye level with it. But other than that, you've been just waiting like a day is great. So okay, as you can see, there's tons of pencil all around this little sunflower here. So I'm just going to take this. And I usually just kind of like plant my hand right here because sometimes if you're giving it too much force than the paper can be ripped or damaged in some way. So I usually just trying, plant and work on a small area at a time. So we'll start appear at the top, and I usually give it some pretty good force. You know, I'm not just lightly going over it. I am kind of leaning into it, especially in those areas where it's a little bit darker. I always suggest sketching within HB pencil because it is the lightest, and it will be the easiest to remove so and basically just gently work my way around the entire painting. And there's just nothing to super fancy about it. But people are these amazed there like, what is this witchcraft and sorcery that you're showing us? And I'm like It's so maybe you can just take a research and you just take out the pencil. But I think people really, really fear messing up all of that work in the paint that they've spent, you know, sometimes hours laying down. So hopefully this will help you move forward without fear, knowing that you absolutely can remove pencil without damaging your painting, Um, it could potentially pick up a little bit of the paint, like sometimes I can see a little bit of the yellow. But, um, it's usually not a big deal. You'll really just kind of have to tinker with it and decide whether or not, you know, it works for you. I know there are some people out there that are off the mindset like, Oh, no, don't you know Don't touch it once you've put the paint on, but for me and what I dio, it's, uh, you don't agreed peace, especially because I just am such a huge proponent of sketching. I think it helps you to just know your subject all that better and just gets you familiar with the flow and movement of what it is you're doing. So there you go. There you have it. You can see that there's basically no more pencil. I mean, all kind of take another second glance and just kind of work Certain areas where it might have showed up a little bit more. But, um, especially if you were going to scan and edit this. Um, this is a great start because you're gonna remove the background anyway, So anything overlapping around the edges isn't gonna show up anyway. If it's an original, then you obviously just do the best that you can Dio. And I think a lot of times the pencil marks give it character. If I'm being honest with you, it's a riel part of the process. So maybe hopefully that was helpful beneficial to you and, um, be enjoyed the video. All right, guys,