Painting a Flower Bouquet in Watercolor : wet-in-wet | Nina Watercolor Lover | Skillshare

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Painting a Flower Bouquet in Watercolor : wet-in-wet

teacher avatar Nina Watercolor Lover, Artist, Loose Watercolor classes

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (49m)
    • 1. Introduction

    • 2. Materials

    • 3. Paper Matters

    • 4. Colors

    • 5. Understanding the Object

    • 6. Warming Up Exercise

    • 7. First Layer: Wet in Wet

    • 8. Second Layer: Defining the Shapes

    • 9. Bringing the Contrast

    • 10. Final Thoughts

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About This Class

Welcome to the watercolor flower class about how to paint the mysterious flower bouquet using wet-in-wet technique.

Watercolor is a loose and unpredictable medium, especially when painting wet-in-wet, but knowing some key points will allow you to have fun playing with watercolor and at the end of the class to have a beautiful painting. Wet-in-wet technique is a pure collaboration between the artist and the paper, where both parts are interacting by turns.

With warm up relaxing exercises and easy rules for sure you will enjoy painting with watercolor your favourite flowers.

Your class project will be to create a watercolor painting of the flower bouquet showed in the class or any other flowers which inspired you, applying wet-in-wet technique. For more inspiration check my flower folder on Pinterest More Flowers!

The process is really simple and fun. There are 3 steps:

  • Create a base in a wet-on-wet technique
  • Define the shapes and give volume by adding contrasts
  • Add small details to assemble all elements into a complete composition and final strokes to give the painting a personality

As well we will use a plastic card as a creative tool in order to create dynamic effects.

That's all! Of cause I will show and explain the each step. Be sure that you will manage with it.

By the end of the class you will have the skills necessary to create loose flower bouquet that you can sell, frame, use in your illustration portfolio, or gift to a loved one.

The class will be useful for intermediate students who are already acquainted with watercolor basics. However, I also encourage the beginners to take the class and get acquainted with this technique. For better results I do suggest to use 100% cotton watercolor paper, grain fin, do not take the satin texture it is not suitable for this technique.

Looking forward to see your beautiful paintings!!

Ready to start?

Share your progress and final result in the Project Gallery of this class to inspire your classmates and to get my feedback.

For this class I will use the following materials:

  • Watercolor Paints (I used Van Gogh, White Nights, Daniel Smith)
  • Watercolor Paper (for better results I do suggest to use 100% cotton watercolor paper, grain fin texture. I used Arches/Fabriano 100% cotton, cold pressed185/200gsm)
  • Sharp pencil 6-7B (for sketch composition)
  • Eraser
  • Mopper brush (goat hair) or kitchen sponge for making paper wet
  • Small size watercolor brush (squirrel  hair) (I used Art Secret #1)
  • Medium size round watercolor brush with a good tip (I used Da Vinci Kolinsky Sable #6).
  • Small size brushes (I used Winsor&Newton Kolisky Sable #2, #1, #0)
  • Plastic card (for dynamic effect in the leaves)
  • Water dispenser (it is optional, but it is quite convenient to use for maintaining the paper wet)
  • Paper towels
  • Paint palette (or just a ceramic plate)
  • Waterpots


Ukulele by BENSOUND 

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Nina Watercolor Lover

Artist, Loose Watercolor classes


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1. Introduction: Hi, I'm Nina. I, over the color lower and to a win wasn't happy to share with you. One of my favorite techniques are wet in wet technique. In this class, I will show you how to paint a floral book it. Using what? In with technique. This class will be suitable for intermediate. Students who travels readies a basic self painting with watercolors. But I also encourage the beginners to take the class A another to get acquainted with this technique. If you're in love with what the colors, you will enjoys his glass. It will help you to improve your wet in wet skills, and by the end of the class he will paint a beautiful floral composition, which you can add to your portfolio. Decorate your home too gifted to the ones you love or to sell it. The glasses are structured in such ways that first explains a Kipper and supposed off wet on wet technique. We do some warming up exercises and then we dive into pain. By the end of the class, you will know different tips to keep in mind when you are working in wet on wet technique, such as how to keep us a paper Damn! But how to have the color say another to avoid my cigarettes. How to give the contrast on how to highlight the Zaky object? Feel free to share. The stage is off your painting in the class project gallery, especially if you got stuck at some point I will do my best, another to provide you with some options how you can improve your painting. Let's get started and enjoy the process. 2. Materials: for this glass. I will use the following materials. What approve board or some kind off plastic board? What? The color planes, What the color palette. Or you can use. Also just a ceramic plate. What airport? What the color paper. For better results, I suggest to use 100% cotton paper. Fine grain is Dexter. I used arches and for brand new brands, 100% cotton called breast, 185 or 200 grams per square meter for a dampening. As a paper, we will need a mop of Russia. Or you can use just sponge on what the dispenser. It is optional, but it's quite convenient to use another. To maintain the paper with, we will need. The following brushes are the small size with the color brush from squirrel hair, medium size around. What the call of Russia was a good tip. I used Kolinsky Sable number six small size brushes for detail, so I use a Lynskey assemble number 01 on number paper towel. Also, we will use a plastic card in other to create dynamic FX in the leaves. Let's start 3. Paper Matters: the points to consider when you are chosen. Now what the color paper as a followin one was It's a celulosa or cotton one or the mix of worth. It's sickness on. There's a texture of paper. Let's have a look at Detroit. These points, Ah, one of the characteristic self for what and what technique is that first, that the paper should be soaked on. Then you need to to keep it to them for a while you're painting. It could be quite complicated with pure cellulose a paper When you soak it on, especially if you use a spawn show for spread in the water, you will notice quite some that it starts to separate the tiny balls or from the top layer of paper on the paper becomes quite really, the pains are just got observed quite fast with this paper on bond. Then they lose. Their brightness has become quite faded colors. One month England that it makes it quite complicated to work with this paper is that once you would like a second layer while uh, temple in the paper, you can room lookouts everywhere. Scholarly. The cotton paper allows you to work with layers it absorbs is a pain, gradually creating some really beautiful watercolor effects on living the colors. Rye branta, onda Just soft. One more advantage of cotton paper is that both sides are suitable for painting, so in fact, you can use a shave twice from each side, and it wont effect as a result. Meanwhile, the cellulose paper has only one side suitable for what? The color painting. If you're not sure what type of labor you have, unless it's not stated the percentage of gotten content, then it's probably is a cellular one. Another point to consider is a sickness off paper. Usually, they suggested for wet in wet technique to use the paper starting from 300 grams per square meter or £150. However, I find it okay to use 200 grams of per square meter paper or £90 if it is, ah, 100% cotton, and the other point is a texture off the paper. The texture on Does absorbency of different papers effects the ways of pains behave talking about cutting paper. It could be in the following textures set in one fine grained now or off for wet in wet technique. You can experiment with fine grain or after extra. I use fine grain. I don't recommend to use the site in one as it comes very smooth surface and absorbs the very first the color. From my point of view, it's a perfect with the color paper for writing, where technique is 100% cotton cold pressed fine grain starting from 185 grams per square meter and sicker. My favorite one is Artist brand. If you find it expensive to buy the block, you can buy a separate sheet, which goes like in size 50 body 70 centimeters. Cut it into pieces on tells this paper was its use your style. Another cheaper option now would be to buy the mixed paper with 25 50 or 75% off Already. The result will be better than if you uses a pure cellulose. One 4. Colors: So let's just a color so which we are going to use. It will depend on the flowers you're going to paint and your color preferences. I will show you the answer, which I'm going to you for white flowers. I will use the mix off. Blue, red and yellow in equal proportions was quite a significant amount of water for the highlighted parts of the Mick stance to be toe yellowish color on in the shadows. It tends to be cool blues. Is this your regulator by 80 and more yellow or a moor blue for yellow flowers I will use amid yellow on the Kinnock Redon gold foreshadows. Also, you can add a bit off purple in other to make color dark for rose flowers I will use the king agreed on Rose for highlighted parts. Aunt in the shadows, I will uses a mix off Pinnacle Johndroe. So with Bill or also you can at a very day in green. Then it will be a dark, darker version off these. It was great. Really nice dark colors. Thanks for blue flowers. I will use blue from UNESCO Paletta and also different mixes off blue, whisking acrid in rows depending on the ratios off blue and rose, you can get a quite a variety of different years foreshadows I will use the mix off blue with Meridian. It gives a really beautiful dark blues on for the doctors. Parsa off the flowers also, I'm going to use ultra marine deep. Well, it's a bit off inaccurate on the rose for leaves, I will use a submarine on the original greener from your skull polity For highlighted parts , I will use Ah sub green mix there with eso yellow medio andi also for really worm leaves worm greens I will makes a sap green with Kinnock Redon gold on for the shadows. I will use the mix off original grain with cobalt blue. If you would like to make a worm shadows and then in this case, you will need to make the green with threat. We have chosen the colors on. Also, I would like toa pay your attention to the following point for what? And what technique is important to keep in mind which colors the white place close one to another, another toward my sagres, which can give the feeling off torch in answer to your painting. Let's talk about complementary colors. Complementary colors as a once or which are situated opposite one another in the color will usually use them in tiny amount Edina to each other in order to harmonize. There's a color and make it look more nature. However, for wetting wester technique, where you have the paper completely with when you are placing these colors closed one to another on with paper, you cannot really control the flow of painter on. That's why it's quite high probability that they will make on will. He will not really nice, great. As a result, increases happens. Just don't planning on. Try to remove the color from that part of the paper using a paper towel, um, dry again. Also in what? In what technique? You can use a complementary colors for great and nice watercolor effect in creating shadows . For this, you need to control really wells a quantities off the plane to use. So that is like, for example, tulips that first you play so red color on then in the area where you're going to create the shadow at the bottom of the flower than your place. A bit off green and where On the H er, Where's their Mickster with threads? A great, really nice if you don't have these colors, so just don't worry. Use the ones which you have on. Be creative in the glass. A material so I will attach is a document with the colors, which I'm going to use. So for your reference, just prepare your pain, sir, and let's start. 5. Understanding the Object: before we will dive in the painting. Let's have a look at our object. A flower buckets. We're not going to paint each flower in details. Our aim is to transmit the image of the flower in such way s so that by the color, shape and contrast, the one could guess what flower it is. First, let's have a look at the shape of the book. It it's out of line and irregularities. This general outline of the book it you will need to use it in your painting depending on the position from where the light is coming, the shape of a book. It has highlights the lightest part. Share those with the darkest parts. The principal part off the book it it has a different, well user off me. Don't can say that these three components is what gives us a Volume two. The book it on. That's why it's the most important in your painting. Tohave present all these three failures off color. Second point is, is that book It s a compound off the shapes off individual flowers which in their turn a hair for their highlights a shadow za and meet stones. Another not to get lost in all these don't it is useful to make a preliminary pencil sketch eso that it should be quite rough, but it will give you the idea off your future composition. You strong contrast a in the foreground and failed to middle tones in the background to make them appear further back in space. I prefer to keep such rough tonal composition in front of me when I'm painting. Rather center on the draws the composition directly on a watercolor paper. Once you have, there's a layer of what the color say. It would be quite difficult to remove the pencil traces. The next stage is to study the highlights and shadows off individual flowers off the book. It they are particularly in my case and my book it a work of sister off blue Heidrun genius on being roses hydrangeas has ah, shape off sphere on is a multi headed flower. If was a source of flight is an hour left eso that the Florence will be like there compared to the ones in the middle part or in the lower part off this fear where less light is coming. Oh, start with the overall shaper Andi then analyzes a basic shape off the floor. IDs in other to give it wall UMA, I will need to leave with the top floor. It's the lightest on the lower ones is a darkest. Besides these, I will need to highlight the forms off some florets in diesel, Florida situated closer to die, to give them a more detailed view. The darkest parts of will be spaces among the florets andan such way. Maicon's is a tiny spaces. The darkest will help me to bring front of the detailed florets aunt to give the world room to my hydrogen. The road has a cup shape with the darkest part in the center of the flower. The lightest parts are on the edges. Off battles the petals aspire, allowed to from the center and cover inward, throwing strong shadow za in certain way. Going in turns the highlights and shadows off petals. Just keep a nine to turn. The highlights always shadows off patterns. The individual flowers in Saturn gives our cast shadow on the leaves beneath, so just below the flowers as a darkest areas off the leaves specialises, works well with white flowers. What makes is and why it is. The dark leaves a surrounding them. At this stage. Just choose a flower book that you would like to paint and make it Donald Pencil Sketch quite draft one. For these purposes, use soft pencil a six or seven beat, defining the outline of the book. It its overall shape, the shapes of flowers, and they're lightest and darkest parts. Keeping in mind the highlights on the shadows are all the total shape of book. It studies the highlights and shadows off individual flowers included in the book. It Also in the Glass Description I live use a link to my Painters Flower folder for your inspiration. So for sure, you will find some flower bucket, which will inspire you once done a blow to your sketch It was a class project gallery. 6. Warming Up Exercise: so let's do some warming up exercises as a move. The first layer of what in wet is to introduce the lightest and a za mid stones off the flowers are for this exercise. You will need toe. Prepare the colors, which you're going to use in two tones their life. Once that should be quite a diluted with water on the dark ones. Those ones you get by. 18 a complementary color to the mix. Observe the shapes of flowers here going to pay. Where's a handful? Is the lightest and where they have the darkest parts. I have chosen a height. Virginia roses being Guan and white, one on some yellow wish multiheaded flower. So first the graves. The shapes of flowers by Washington. A light mixture on, then a two more consistent mixture off the doctor color in areas where the shadows are supposed to be, observe house abanes Indirect. Remember, when you ride in a darker color, the pain should be more consistent than their lighter color. In case you had that with quite a lot of water, what happens is that the water will start to push the pigment out on will create not really nice backgrounds. Unless you're looking for six effect. First, there pains the shape or was a fully loaded brush off the first color, the lighter one on, then immediately. Keeping the 2nd 1 is a darker color indeed on, then see how the pains in direct. So at this stage, your task will be to the truth of the flowers. You are going to include in your book it on just the painters. Their shapes into Don's the light one on the dark, one first things the shape with fully loaded brush. Our first color for creating is the darkest parts introduces a darker color, which should be much more consistent. I will be waiting to see your to see your exercises in the class Project Gallery. - Thanks you. 7. First Layer: Wet in Wet: so if you already with all the preliminary steps, let's dive in the painting Now. The main part of the painting will be doing that wet in wet, which means is that the highlights and the meat don's will be placed on them. Paper is the first layer. Once the first layer will be totally dry. Then, in the second layer, we will define the shapes of flowers, finishing the painting by it in the darkest dancer. In such way, you're giving the contrast. So let's start with the first layer. In my case, I will not do and under growing. As for my flower composition, I will be guided by my rough pencil sketch and then reelected depending on the behavior off . The pains are on paper. If you prefer to have further on the drawing off the key shapes off flowers, so better not to use a pencil, but you, sir, were diluted rosiana. Start with the dampening the paper thoroughly on both sides. Spread wells the water on the paper surface with a mop, a brush always a sponge or with a brush made from square hairs. And make sure that Iran no pedals left on the surface. Fix the paper on what The proof board. As long as it is wet, it will be stuck quite well. If you are using block of paper sealed from four sites, then no needs to separate the shooter, which you're going to use. Make it with from only one side. If you are going to paint our white flowers, you can reserve white spaces off paper, but removing the water in those parts or with a paper towel or a white, uh, tempering paper in those parts, half of all of your colors prepared the pencil should not be very diluted on the second color, which would be the dark it owns. Should be more consistent than the light, once so beginning to brushing areas of color, allowing them to spread and merge on wet ground. So the first, though, introduces a lighter area saw off our flowers. At this stage, I user my brush off Collins, kissable number six. Keep in mind that we're not painting a set off separate flowers, but a group of color spots toe which like that we will give the shapes off flowers. The aim of this stage is too great a harmonious composition, not colors the combination. All for this color. Sports should be quite harmonious for great in more effective yuk, until to support that, some angle saw that the pain, too, will flow down in the direction of the field by keeping the paper flat. It makes is that the color so flow into one another and not run down the paper? Yeah, in places. So where's the papers getting dry? I'm gotta detached from the board. Just make it dump again and take upon painting to create tiny flowers at the big grant. Uses better in technique sprains the droplets off color rendering dip. A brush in the paint on hit slightly is a brush against another rush or against your finger for making the composition more dynamic. Let's use a plastic card to give the texture to the leaves. Once you have brushed the color, places a corner off their guard to the starting point on keeping it at more less of 45 degrees angle. Just stretch in the direction. Where's the leave goals for this effort? The paper shouldn't be worried. Them Otherwise, uh, was a Carter. You will make separating now white line, which will be immediately filled in again. It was a color. So is that another to greatest effect? You need tohave Quite a lot Off paint on the paper should be slightly dry. So it shouldn't be really wet like at the beginning for a painting in case you're not happy with the some parts of how the colors are merging or they have makes and graded them s a great use Immediately a paper towel in other to remove the painter from the paper on striking Let the paper dress lightly on. Then started in the darker color said in the area ASA offer shadows. - Thanks . Thanks. Thanks. Thanks. Once you have finished always your first layer leaves a paper flat City with will be completely right I applaud what you have created Does a class project gallery 8. Second Layer: Defining the Shapes: So once your first layer has been completely dry, let's move forward with outlining the shapes of our flowers in the second player. Them burns their backside and front side of paper and stick it to the board. Change the water for clean one on that. The state will define the shapes of flowers on the clarifies. Edges the outline off individual flowers by Etienne Shadow Za and by 18 more details that the composition I'm using. Kalinsky Sava, Laura Brushes number 01 and two, which are good for some detailed work. First there were worker. We see each flower individually on, then the one so all the flour cell will be detailed, that we will have a local, what we can and that generally do the whole composition in other to make it brighter. Let's have a look first at the hydrangea. Just look at your reference on where you see is thes. Darkest parts and tried toe define their individual florets, some of them without going into detail too much for roses. Just observe how they're changing. Other highlights are onto the shadow. So for petals, so usually it's like light one than shadows and light highlighters and shadow in under to make us most of their integration off second layer into the 1st 1 Once you had other darker color, then I use another Russia with clean water and pass it at the age off. They did color another tour, make its moth. It will make a quite nice transitions between colors for some effects and just uses quite dry prints off your brush. Then also, it will transmit their shape off pet also, or how they are like turned certain angle. So try toe. Use your brushes a to maximum. If you see that the paper got dry in the places that where you're working, you can use a squirrel, a brush to damper exactly that the area where you're working in this moment, the damn pitter under tow at new color, another toe also to make it its integration into the first layer quite strong. So at this stage, when you are making damper as a front side offer, the painting if you have used cellulose paper you will notice, is that it will suffer bit because the once you will make it to them for you may notice, is that ah, wild, you are spread in the water on the paper surface that you can remove also some parts off the color of the progressive. So that's why, for this technique, it is really good to use the pure caught on watercolor paper. So mainly at this stage is a You're observing the reference of for your flowers trying to transfer what you're observer in the playoff shadows and highlights in the reference inter your painting by it in beat by Beat the start areas off the flower. Do not give the details to the whole flower, just to that part of which is closer to us. Closer to die on. Remember to keep their further apart, more blue. So in this way to transmit is that one so which are more detailed and they allocated closer to us on Does the barter, which is Blue Day? It is a first for us. This stage are off for giving more details. That was a flowers on. It didn't beat by beat, small details that it's quite meditating and quite long process for this composition of her main took a 40 minutes to finish it. I will show you it's been a processes so that you would have an idea how image of the flower is changing by a didn't beat by beat different colors, for example, with hydrangea. When you ride in a dark area, said try to combine it. Close colors. I like blue is a bit off. Kinnock Redon rose with a beat off car. Menino beat off cooler blue with purple, so try toe different colors. A. But as the main things that keep is the same tone, so it should be the same dark William. Yeah, - thanks . Yeah, - thanks . - Working with this tiny flowers at the back off the book it just some darker colors to some of them until a winner in the main part, Just disease I remember as we were talking in the break. Rules are glasses is that areas which are just below the flower, but also they those areas off the leaves is a usually like darkest because there's a research. There are shadows from flower petals for grating shed O za in this yellow flowers, which are multi headed flowers, as so just maker, the dark color Andi make their small, tiny dots on the group. Off this dots off. Darker color will indicators. The shadows are on the flowers. - Upload what you have created to the class Project Gallery 9. Bringing the Contrast: we have almost finished. But our book it is still missing the darkest part To make the flowers brighter and alive. We need to bring the contrast by it in the dark area off leaves beneath the flowers and by Indians, These tiny dark areas which are separating one flower from another. This tiny spots is what really makes a za William to the book it as a whole. Your school dark our colors to make the contrast even stronger. Yeah, - thanks . So here we go. Finally our flower book. It is brought to life. I am looking forward to see your beautiful paintings in the glass Project gallery. 10. Final Thoughts: Thank you for joining me in this class. I hope you have enjoyed painting in wet in wet technique. If you like to the class, please leave a review and close your project in the class Project gallery. I will be more than happy to leave you my feedback If you're sharing your artwork on Instagram a police take me on de so that I would be able to see your beautiful painting. I'd love to see everything you have created in this class, especially share what you have created. If you got stuck at some point and that will do my best, another to help you If you're not happy with your result, just are again using us a brushes or paper about for sure. With a little bit of practice, you'll manage to create the effect you are looking for. The most important is to relax and to enjoy the painting See in my next class. Bye.