Painting Succulents in Watercolor | Mandar Marathe | Skillshare

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

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

Lessons in This Class

7 Lessons (1h 12m)
    • 1. Introduction

    • 2. Echevaria - Drawing

    • 3. Echevaria - Painting Part 1

    • 4. Echevaria - Painting - Part 2

    • 5. Zebra plant - Drawing and Painting

    • 6. Paddle Plant - Drawing and Painting

    • 7. Lithops - Drawing and Painting

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About This Class

Welcome to the SketchBook everyday Series of courses. In this eighth course, you will learn how to draw and paint 4 different succulents using watercolors.

My name is Mandar, a fine Artist, and a sculptor. I will be leading you through this course.

I've designed this course for the artist in you who wants to improve your art but has limited time to practice. Your sketchbook is your best place to practice and hone your skills. It’s your private space;  and your aim here is not to produce a gallery ready painting but to try out new things, have fun and improve your art.

Watching other artists draw and paint and then practicing the same is a time-tested way of improving one’s artistic ability. That’s the reason I show you every line that I draw, every  brush stroke that I make and explain to you each step of my artistic process.

I’ll show you how I draw and shade each succulent with pencil and then how I paint it with watercolors. This method of painting gives best results and improves artistic confidence very quickly.

This course is for you, if you want to improve your art and are willing to spend at least 15 minutes every day, practicing. It doesn't matter if you are a student, a professional, a homemaker or a retired person. No prior art making experience is necessary to take this course. Just having the interest is enough.

I look forward to seeing you inside the class.

Meet Your Teacher

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Mandar Marathe

Fine Artist, Sculptor, Illustrator, Designer



Download my ebook. 



I am a fine artist, illustrator, and sculptor based in Pune, India.

I chose to become a full time artist in 2011 after 15 years of corporate career in manufacturing and IT.
During my education and corporate career I made art on weekends and exhibited it through solo and group shows. But I wanted to make more art and more often!

After quitting my day job, I've created and sold my own art more often and have taught 20000+ students through my workshops, courses and membership.

My art teaching method got refin... See full profile

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1. Introduction: Welcome to the sketchbook. Everyday cities off courses. In this eight course, you will learn how to draw and paint full different succulence using watercolors. My name is Mandir. Ah, fine artist and sculptor. I will believe in you through the scores. I've designed the scores for the artist in you who wants to improve your art but has limited time to practice Your sketchbook is your best place to practice and hone your skills. It's your private space, and your aim here is not to produce gallery really paintings, but to try out new things. Have fun and improve your heart. Watching other artists draw and paint and then practicing the same is a time tested way off , improving one's artistic ability. That's the reason I show you every line that I draw Everybody's talk that I make and explain to you eat. Step off my artistic process. I'll show you how I draw and shared each succulent with pencil, and then how I painted with watercolors. This matter of painting gives best results on improves artistic confidence very quickly. This course is for you. If you want to improve your art and are willing to spend at least 15 minutes every day practicing. It doesn't matter if you are a student, are professional. Ah, homemaker or a retired person? No. Prior art making experience is necessary to take the schools. Just having interesting art is enough. I look forward to seeing you inside this class. 2. Echevaria - Drawing: welcome to this lecture. In this lecture, I'll be drawing Etcheverry, a bland Andi. Though it looks simple, it's slightly complicated to draw, but drawing this helps us in understanding the structure of the plant Andi. That makes the painting process much more easier. So let's start drawing. I'm starting from the center. The Britons are like this. Their take rather, the leaves are like this. It's not Ah, flower, but it's Ah, these are the leaves off the plant. And once I have drawn the center, I'm drawing the patents like this, the petals which are in the center, or the leaves which are in the center. We can see the thickness of these leaves as we go farther away from the center. We will not see the thickness because the leaves in the center traveling this so we see the thickness. As we go away from the center, we see the leaves like this so we don't see the thickness off the leaves, but be only seen the dark portion of the leaves. So that's what I'm drawing now. So in these leaves, this is the part which shows the thickness off the leaves. The leaves are staggered so their tips are not aligned to each other, and a so far as I know, this arrangement is to make sure that each leave each leaf receives maximum amount off sunlight. Also, as we go away from the center, the A DEA off each belief that we see increases. So, for example, this is the idea which we see for this leave. But for this leaf, which is likely away from the center, the idea has increased and now slowly start reducing the thickness we've just seen on. Ultimately remove are not show any thickness. So now I'm nor chewing any thickness off the leaf because the leaf is far away, so on and so forth, we can go on adding leaves like this. Now I will stop adding any more lives, and I'll come in and shear the start shooting the leaves. This will also help us in understanding which are the light years off the leaf and we juggle on dark. So that's what I'm doing now. The thickness is off the plant very over the leaf, which we see is the light part off the lead. So this is the 80 averages light in color. Onda surface off the leaf is just dot So I'm sharing very carefully with until whenever you want an eight year to be darker. You just don't push the pencil against the paper. You should actually shaded in various angles so that you get the darkness without destroying the structure of the paper there. So once I've had lines like this, I can go and heard lens like this to make it darker. Cross hedging as they said, and I can go on and on with every little like this to complete the shading, I'm starting at the center again dark, the ideas which need to be darker in color so on and so forth. I can continue shooting like this to complete, but I speed of the video so that you don't have to watch it for the whole time. At this speed, wherever I need toe, lighten the white eight years. I can make a tip off the new Ready reserve and wipe out 80 years reasoning toe be clean because off the shadow off other leaves, each leave has color, which is darker near the base, and as we go towards the tip, the color becomes light and light Roughly the shading off this succulent is done. I won't go in and put in effort to make it smooth, because the paper is not suited for smooth in gradations because it's watercolor paper. But this drawing and sharing has helped me understand the structure off the plant. Onda, I urge you toe do this kind off drawing before you attempt painting this in watercolor. Now that I've done this again, redraw commedia here and then I'll see you in the next lecture when I'll be painting it. Thank you. 3. Echevaria - Painting Part 1: welcome to the lecture in which shall be in painting Echeverria. The last lecture I drew and shaded this and similarly ill drawn A line drawing made a line drawing off Echeverria again for me to paint from or paint on. But I don't want it to be so dark because that we've seen through the transparent watercolor. So there is a trick which I used to reduce the darkness off the pencil marks. And for that I use and needed it, is it? And I roll it over the paper so that I don't have to body about accidentally rubbing too much from one area and damaging the paper. So I just roll it over the paper so that and the uniformly gets wiped and I'll stop here and now I can start painting watercolor. I want all the tips are the edges off the flowers. Toby light pink in color, and the main patterns should be in blue color on. That's why I am using light makes off and visiting crimson just toe. How claim the edges off the off the patrons. I have, ah, tissue paper handy so that I can take off any excess color which is there I'm using. Switch to us, even smaller Brush on like this. I'll be carefully painting each and and very Britain's edge. This is where the drawing is very important. I'm also voted the paper very where I required for ease off painting the edges. There are various ways you can get the similar effect you couldn't being, but we are using watercolors. And so I want to maintain the light eight years as light and then go on, adding darkness has required. If it was oil on acrylic switcher or big mediums, I could have painted the dark parts in the beginning and then or left that with later being edges off the floor. But with particular that's not possible. You. And if you use white chocolate to make the old lapping design that why it is not very opaque and you don't get the necessary results which are expecting, so it's better to leave the area years, light areas light to start with and going, adding darker and darker ideas as it acquired. I would love to let this dry completely before I come in with the blue color. Well, im mr here with my finger touch this bird pain, but I can. I think I should be able to remove the marks with somewhat more sorry when brush and then pick up the extra color of it from tissue and having crimson. It is a very staining color and hence I won't get the complete white off the paper back. But that's OK. It's not looking for bed. I will let this dry and then start with the blue. Since it is very Tin Lear, I guess it has started drying all Really? And if again, budget. Yes, it is Dr. And now I can come in with blue, green, blue and I want to add some crimson in it and let me try this color. I want this dark enough so that the like it just come out Naturally. I remember that mortar color dries lighter than it appears, so I want to make it even more darker. This should be okay off course I can come in it. Oh, one more leery required. But I want to avoid that as far as possible now, in painting around the I think a ideas as I go away from the center, I want to enhance the effect off shallow towards the center and show that as we go away from the center or towards the epics off the leaf, the color gates lighter and lighter. So I will be applying color with this brush and then towards the center and then pulled the color with a clean brush toward the tip off the leaf, so applying color with this brush and pulling it with the cleaner brush. 4. Echevaria - Painting - Part 2: I didn't intensify the color a bit because it has got finned as I go on bending on me. Using this brush toe from the color towards the tip, you get such kind off clouds. If the brushes to with it on it's too watery. But then I will wait for it to dry and then come back to make some adjustments, if required, another than trying to fix it when it is red on and pulling that color towards the edge on this brush. What a gradation. I'm also using this pink lines as the separator so that the color from one person or one leaf doesn't flow into other leaf because that will destroy the gradation, which I'm doing so that acting I'm keeping that area as the barrier between these two shapes, the cleaner regain meant in these edges than I said. It looks, and that's where watercolor is challenging. You can go in and correct leader Well, I can. For bigger petals, I can dry, making the tips off the leaves, wit and then introducing this colored words the base on bringing it here so that it makes us by itself. They didn't want to good sometimes, so it's a painting is all about experimenting. You should trade different methods to achieve the same results. Sometimes they work. Sometimes they don't. But every failed attempt also teaches you something you might have toe paint this cactus multiple times before you get a satisfactory result, because it's so complicated pain. But I think it's fun when you get the results that you need or what you are looking for. It's worth that effort, and this is the last leaf. I might have to come back and had another layer off darker color once this layer is dry, and this is not the only color which you can paint Echeverria in and the natural warren, this plant occurs in multitudes of colors. So if you go on the Internet, you'll find many where ideas that have different color combinations. You should try those, and I will wait for this color to dry before I come in the color and the center seems to have tried so I can even add in the lead. Right now. I want this layer to me. Ticker inconsistency. This is the edge with Joe see on a sick leaf, depending on how much patience you have and how much realistic you want your pending to look. You can put in the time go career small to relations. I'm not a formed of for the realistic paintings, so I don't for too much effort in making everything look very, very realistic. Though I need the hint off realism that's where I stop. It depends on it's not bad or good, just my choice. Or depending on what choice you have as faras or with regard to the resemblance off realism you can put in more effort on. And but you better results. We charge up to your standards on darken one more petal on, Then leave the rest as they are, because as the pedals go away from the center, they get more sunlight and they look more brighter and less darker. I make this color a bit Tina and then and one more layer here just toe just for the sake off uniformity. And I think I'll stop here. This is what I'm happy Andi. That's how a bean commedia. So as you can see, I first drew and shaded this to get understanding off how the plant looks and then do it again. And then with colors. I've been to this. Maybe you will require more than one attempt toe get such deserts or even better result. But the effort will be off. Thank you and see you in the next lecture. 5. Zebra plant - Drawing and Painting: Welcome back in this lecture, let's draw and paint zebra plant, which is a succulent Andi. It has ah leaves which are similar to Olivera, but then they're not exactly same. The ham leaves like this, which are really pointed on. And they have peculiar markings on them, at least on the backside. It is white band. So when I share like this worth remains is the white area should go on shooting like this to give you that zebra effect. Andi, that's the season way in the secular undies corner zebra planned and the top portion off the leaves have some white areas, but they're not like the bankside wet in solid bands. So there are some Where did he has left or white markings? This is the underside which we're seeing here. So it has some white markings again. You won't get very smooth in relation in on this paper, which is a watercolor people. So because of the roughness off the People Saloon, if you want to make a black and word study which has smoother gradation, you should choose a paper which is which has less texture. So on and so forth I'll go ahead and meet the shading for all these on these leaves, and then we can go in and paint in the same plant with on used another technique off creating these Grady Shipp markings. I shared the holy Let's see how this goes. We may get good so that we may not get. And then I use an e days. Er it is old white 80 years or create the white markings and then go in and shield the remaining portion again. And you also probably reduce the thickness of the white bands. But I guess this trick is a faster method off creating the same effect. I'll stop at this point and then being ah, the same succulent with watercolor for that I'm gonna do, is and use. I use Russian bloom on and grow me alone to make it just kind of green. Andi, I draw these leaves first with with friend color. Or like a little if this is if you find this difficult to do, you can use Spencer toe. I mean the drawings first, but times I'm not concerned about matching are making the leaves exactly. Look, seeing as my earlier drawing, I don't mind if these leaves look a bit different or even very different from what they are as long as can create a nice picture on them literally. Okay. And now I use ticker color so fresh in blue and what happened grow me alot some more blue. The green in this leaves is very dark and I think this is a good color to start. So what I do is and start bending from this this leaf I need ah to have less of color on the brush for better control. It's I always get a question in this kind of drawing is are these white markings on green leaf or green the green markings on widely? But that's that's off no significance. As far as the painting is concerned, we can. It's going to be the metal of painting is going to be the same no matter which one is true . As we go towards the base of the leaf, the green media is more on. The markings are less frequent. I guess that is the A fact which tends us that the markings are wife and the leaf is green . This is the top surface off the plant off the leaf so and have to leave some markings like this make some marks like this and then paint around those this for the ease off painting and then and what we are seeing below this this part is actually the underside off the leave. So this will have prominent markings which are off continues nature. I mean, from one age of the plant toe another off the leaf to another. So they me like this. As we go towards the base off the leaf, the green areas become thicker and thicker, and the white areas or white markings become less frequent. Andi, I need to make some more color, make some more color. So in Prussian blue and some crew me alone, I mean, starting with the tip off the leaf. I mean, what we're seeing here is the under sane half the leaf and the markings have continues. I've done the pinch. Four ease off painting Andi continual with this leaf. Such an interesting design. Though it is very simple and wonder how nature has involved so many interesting designs. I mean, let me bean this leave which where we see the no part of the leaf. - I think the painting things like this is also therapeutic in nature because you feel so calm when you are brings painting something like this. So even if the sketch for the painting which are doing doesn't end up being on Masterpiece , you don't get a lot of benefit just from the act off. Painting the curve in this white markings is because they are wrapping around the thickness off the leaf on succulents being succulent leaf being ready. I think these markings look even more bent around the shape. This is again dumps edifice. So somewhere random white marks between him to leave and that's it. This is the drawing and bending off. Zebra blonde second hope you have enjoyed looking at this and then also will enjoy the process off painting this. See you in the next lecture. 6. Paddle Plant - Drawing and Painting: welcome back and this lecture we would look, draw and paint battle plant, which is circular Andi. It is. Leaves look like presents. That's why it's called burning plant, and with more sunlight it becomes even more red. So I'm doing. The birds are battles off the plan on. There's no particular shape or specific arrangement off these leaves. These lose our green towards the base and red towards the top. So what I'll do is I'll not go on and share these, but then I'll paint them directly. That's because there is nothing much toe draw, and she'd if you want to see our If I want to explain how the parents are, then on show you here. This portion is green, and as we go toward the top, it is red in color, and these parents are not very take their literally leg pads. So I'll go and go ahead and paint these. So no pain. What I'll do is for start with blue color. I'll first mix two colors and then I want them toe mix vetting red. That's the reason I'll prepare them those two colors first and then trying them on. Try applying them on the B. But so this is the green winter one and okay for rent and use this Venetian red directly and used this Venetian there directly. And this is the green, which I made. So I need some more greens. I'll make some more wanted me. So start painting this. After applying, I can see that it's darker than what I need. So I added some more yellow to it, and I want it thinner in consistency. So this is the green Andi. I washed my brush. Andi trying to spread it slightly. No, I do the same thing for the red who are red. I'm not mixing any other color. It's amusing directly the finish in there from the Dube, and now it's timeto modest them together or transition them like this. My breast was dry, and that's the reason picked up the color from the brush off from the paper. So now I'll do the same thing for under parents. But I have to mean take care that I'm not touching the already painted areas. Otherwise, the color with spread use the same brush in Washington. Use it here, intensifying the color here. Andi timeto transition the colors Now I'll paint this parallel because I want the colors here to dry so that and then come in on being this bear. Still, then I can bean this without the fear off getting mixed up in other places. Transition time Next comes depended on this side place of transition and also being this very complete trade because it's so much under because we're seeing only the tip off this bad that we're not able to see the dream part. And now we'll start with these two parents. I'm careful that this doesn't margin toe neighbouring birds, but they're almost dry, so I don't have to worry about that. Get mixing some green. Then green will go here on the beach when the edge nicely on the transition time on the complete spending off the battle plan seemed the next lecture in with Shelby in yet another secular 7. Lithops - Drawing and Painting: welcome to this lecture. In this literal be painting, a few little ups pumps are also called a living stones. This is tops on Africa. It's a succulent on. I painted this on. I want to show you feel more Onda. Those are these are one off the spring, just plants which I've seen. Still no Andi, you will if you will search for them on the Internet. You will know why they're called Livingstone's on why I call them very strange plants, but let's start printing them one by one. This is a front of you sort off which shows little or Picca on da floor burning through its centre, our floor picking through its centre. Andi. Now we'll be painting few tops in the top You, they're very industry will look at even in even when they don't time floods. So let's start. Basically all the tops almost only tops our hammer basic structure in which they have Loeb kind of things. I don't know what ah, he's we should call them or what they're called botanically. But then these two lobes are the most common thing which all the tops have, but they have very different color combinations on. That's the reason why they look very interesting to look at. I not be drawing community deals. I just want to go from reduce their darkness off these drawings Over on on. Now I'll start painting them one by one. I'm including images off all my reference for the graphs through a Pinterest board on in the class on and share this Pinterest board video. So look out for the details of time. So let me start with the top, which is which has ah, pollution blue kind off Andi. It has who kidney like structures are shapes on it. Stop on. And for that I'm mixing on blue and, uh, blue and brown color to make the blue slightly dull. Andi painting in the surroundings with this, whenever I'm not talking and just spending, I'm going toe speed up the video so that it doesn't become boring for you. You can off course, and it was the speed and watch it. So this is the first layer and there is a white ring around this and then the central part is data blue. For that, I'm mixing this world blue and I make some venetian. Then go dark on the blue and let me add some brown would which is burnt Sienna. And I'm going to leave light a ring on their owned. I find this really tops interesting to paint because they are nothing would we expect they're like nothing which we expect the very different kind of plants. Um, that adds interest to the pending. So this is one little when viewed from dump It is one to darken the centrally barred. Nor were these two lobes meat. So I'm using the same blue color and find brush the chip on Now let me start painting next . Little This is, uh this has very different color combination than the earlier one. This has a kind off three side by side. What I mean is the vertical ball off the little is like this. Then the base color off the top part is I'm really similar to a pink color. - So this becomes the base color for the top off the top portion of the little. And I love to wait for this color. Good. Right before I can. Coming with the details coming for the details. By the time let me being the base color for the thirdly top. This has toilet walls so mixed cobalt blue and and is it in crimson? And I let this try by that I am this dries I am coming in on Brenda pain the details off this little Onda. This little has very, very think do Dent's. So I'm using lot off, elicit in crimson on a danger off, finish in red, in good with whatever did little botanical knowledge I have. I think these are windows for the light to penetrate when I wonder how they do for photosynthesis Because until now, I only knew that for the synthesis can be done only by plants which have chlorophyll, which is good in in color. But maybe there is something some information which I am not a barrow. And that's what these tops are making use off. And I need darken the central line just passing through. These two lobes are which is created by the valley between these two lobes, and I'm doing that with her dark brown color. Okay, Now let me move on the thirdly top, which has how many different colors? Windows on one day, one day record. So I'm mixing a little in crimson, Khobar, blue and burnt Sienna. And this is how the windows look. I'm adding some Venetian that make it more Make this color more relish And these markings have ah, yellow Hey, look kind of thing around them on trying to indicate that once this color is dry, maybe it would have looked nicer if I had done that halo as the second layer and these markings as the third layer I have to wait for a minute or two before Rincon make yellow. Let me climb when it is red so that at least colors can merge a bit. Let's hope this goes own. Yeah, it seems strong. You good result. No, because, uh, yellow underlying lier this yellow is starting to look a little dream. Maybe next time I'm being the yellow without the blue layer. What I always say sketchbook is our private space toe. Try anything and everything that we want. Oh, we're not attempting to being a masterpiece, which is to be hung in a gallery or a museum. The intention is to practice trying different things so that we become more and more ready to create our own masterpieces. Now this red color looks even more later to me. So I had some don't color into it, but I won't be painting the whole thing again. And just giving some dark accents aan den, the central line or the valley between the lobes and that completes drawing off, drawing and painting off. Three off the little ups, if you will go on intimate and search for the tops. U. N C Hundreds of different varieties having their own color combinations. I hope you have enjoyed this class and will attempt painting the tops off your own Thank you.