Rose Watercolour - Sketchbook Practise | Holly Tomas | Skillshare

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Rose Watercolour - Sketchbook Practise

teacher avatar Holly Tomas, Design Watercolours Printing Mixed media

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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

6 Lessons (37m)
    • 1. Welcome To The Class!

      2:16
    • 2. Materials

      2:35
    • 3. Mixing Our Palette And Swatching

      5:38
    • 4. Practising Techniques; Rose & Leaves

      8:46
    • 5. Our Sketchbook Project

      15:50
    • 6. Rosa Rugosa Gallery: See you again Soon!

      1:47
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About This Class

I've been thinking a lot about what you might like to do next, and who doesn't love a loose watercolour? especially when it involves Beach Roses, also known as Rosa Rugosa.

We have these exquisite roses growing along the coast here in the Lowlands of Scotland, as they act as a natural wind break, and provide colour, food, and fragrance. They illustrate the beauty of nature's cycles, as they always have something to offer, from the complex bare branches of Winter, to the first Spring buds, the Summer blooms and in Autumn, the hips.

To celebrate the colour of the ones I know and love, I've chosen Quinacridone Violet, but you can choose any colour you feel drawn to. We'll choose a lighter green for our background leaves and a darker hue for the foreground.

There are lots of different techniques which we'll be using subtly to bring together this very fluid and vibrant sketchbook practise, including:

Watercolour wash

Adding drops of bleach

Sgraffito

Blotting

Dry-brushing

and layering.

As well as practising timing... getting used to the feel of our paper, so that we can build up layers whilst still allowing the colours to merge with each other. 

A crucial component for this practise is water! Gently becoming familiar with the idiosyncrasies of our choice of paint... how it reacts to water and the drop of bleach.

This is practise, so the main aim is to have fun, try to let go of any expectations, and engage your intuitive brain. It does take a leap of faith sometimes. 

And what if it's not what you were hoping for? Well, nothing is ever lost. You learned something... because I truly believe there are no mistakes :O) and you can always flip the page over or tear off another sheet of paper and have even more fun doing another one!

x x x

Materials:

Moleskin Pocket Watercolour Sketchbook

Jackson's Mop Brush Raven (non animal hair) 3/0

Jackson's Jackson's Silverline (non animal hair) 2/0

Quinacridone Lilac - Daniel Smith

Green Gold - Schmincke

Olive Green - Brusho (You could use any dark green watercolour you wish)

Optional: Moss Green - Brusho (to drop in the centre, but you could use any green watercolour you have)

Bleach (Mix 40% bleach/60% water, although it's not an exact science, as bleaches vary)

Stylus (or skewer/cocktail stick/dip pen) for sgraffito

Pastel (to grate onto the petals and leaves) But you could try grating watercolour pencils or similar.

A grater (I used the stylus, but you could use a nutmeg grater, small cheese grater or sandpaper)

Kitchen Roll

x x x

Meet Your Teacher

Teacher Profile Image

Holly Tomas

Design Watercolours Printing Mixed media

Teacher

Hello there!

I’m Holly Tomás, an artist, photographer and musician based in the Lowlands of Scotland. I’m fortunate to live in a house surrounded by trees. So when I first started painting, I took my inspiration from them.

They felt very familiar to me having looked at them from my window for years, but working with their leaves brought me even closer to understanding them. Having said that, I have an enduring love of flowers and I use florals, for the most part, in my designs.

I really love Scottish wild flowers, especially the humble little ones growing by the coast or in the forests… Sea Spurrey, Thrift, Tufted Vetch or Wood Anemones, Red Campion... Sweet Violets. What i want to bring to my classes is a sense of being wrappe... See full profile

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Transcripts

1. Welcome To The Class!: Welcome to this class switches centered around Rosa Rico. So this is planted and Malone and of Scotland and many pumps the weld along the coastal areas. It acts as a natural wind break and also office feed forward. Like I said, we're going to be using book today and just two brushes. One for loose floral shapes and long detailed brush. Now roses and loved the world over. And that one of my favorite flowers too. But I want to approach it in a slightly different way today. So what we're going to be doing is including lots of different techniques and are going to start to build up layers this way and lots and lots of texture. So we'll start with these very loose petal shapes. And we'll create some negative space in between the flower hats. Trump Kingsley chain like this, immediately makes it look like colors and mucosa. Using the light green in the background makes the piece look backlit. And then adding the texture details with my detail brush. And he starts to bring their plans for what will you send a topic to fs graffito? If it's a blotchy. And then finally, we'll finish with little details. Adding field league therapy may be shaping on petals. So let's move on now with the class together. 2. Materials : Running through materials, you'll just need two brush really And this could be any brush you feel happy with. And these are very loose shapes, so it doesn't necessarily have to be a similar Bush to this. And this is a three or 400 rave and from Jackson's small month brush, which can be made into a point and a fine detail brush. This one I got is two, our viscera Silverlight from Jacksons. The payment for the roses themselves, just one color and I'm using Quinn lilac. And but any pink or even yellow, which is apt to be the same color. And, but I just love this color at the moment. A few greens, but really only need two greens and a paler one, which we're going to be using for the background leaves. I've got here a green gold, but I mixed it slightly with the darker green amazing, which just happens to be a brochure. It can be watercolor, it doesn't have to be cautious. And I've just chosen an olive green and the green gold. Now I'd like to drop in on limits of mosque green powder into the center of my roses. But again, you don't need to have brush. You can just drop in a little bit at the water cooler greens that you have. We then got a stylus. We could use cocktail stick or a skew going on and depend just relative scratching detail when the center Little drop bleach may be two drops, make sure the Cambrian and swell ventilated on that. It's going to be a tiny, tiny amount, which is going to be easier for the center of the flowers. This is diluted and 40 percent bleach and 60 percent want. And then only the data up to that really is some kitchen roll. And if you want to, you can add some nice into the center. And this is just hostile and it can use a stylus side lightest use there such. But you could also use a little not migrate terrible sandpaper. 3. Mixing Our Palette And Swatching: So I just wanted to show you on my palette. So here I've got to forgive the odd bits of paint left over from previous paintings when I found out she using a big palette like this. This is just very cheap plastic tray and helps me a lot because I like to use brochure in different forms is in powder. Just gives me little bits of gray mix. And I found it really helpful. So this is the Quinn Laila. So I've got all of that water down. But I also want to be using it fairly neat. So I'm going to put the exposure that there. This is the darker green I've chosen. This is olive green. Quite dark. And again, this is Prussia, comes out orange, but it's bringing any green that you have, anything, watercolor, gouache. So that's my green, dark green. And then I'm going to use and paler green. And the one I've chosen is green gold. And really liking Ashaninka paints, actually buying them recently. Russia. This is a lovely bright green. We're going to be using that as a background. Background leaves. Now it's slightly too bright. So what I'm gonna do is just take a little bit of fat, makes 10. So that's the part that I have going. And it's really only those three colors, a darker green and light green, and whichever pink or orange or anything like that you're going to use for euros is. And if you have mosque green, Prussia, then we can drop that into the center of the flowers. You can also mix that with the olive green. And I like coffee, it's a powder sharing. And then I just kind of bring that out a little bit. I'm not mixed with that's quite nice. So you do not meet the half portion. And it's just that I use to the colors. Just pale green, a dark green. And if you want another green to add into the center, but you could totally use one of these greens for the center of the petals. Tap, tap, tap. B. Hi. 4. Practising Techniques; Rose & Leaves: So let's have a little practice room. And we might as well do this in our sketchbook because then we're familiar the paper and we know all about the timings and which is going to be important in S. So let's start off by just putting some very loose. And I'm using quinoa I like here. My green gold and it says my olive green. And there are three, only three colors that we're going to be saying. So very much heavy, heavily pigmented paint. I'm just going in to do another three petals. Then we're going to do a magic trick with the laparoscope would bleach on the end of a very fine brush here. I'm just going to drop that in. Now very quickly. Let's drop a little bit too green. It's actually panels it because it cries out paper, but he gets him quickly. It does still take and that's just my olive green. And then a little bit of pressure pounder. Most screen as well, the center. And it's kind of like to do is create some negative space between roses. And it also is going to be helpful to help or technique would be leaves. So I'm just going to draw some clear water to some of the patterns. And then you can come this side. Two similar shape just with water. And a model that's too wet to append some pressure or whichever green Yong USA. And once you've done a few more petals around this PMOS, is these little white pops kind of really add to the piece. It allows the, allows the eye to rest on top of it. So let's put down our first layer of green and wrinkled, but I'm mixing a little bit just to make it a little darker with my darker green which are chosen is on a break. So you really want to just throw these down. But just wanting an impression in thing to particular. So once the triangle that we can go back to our sentence and if we're not happy with spread of the pressure in the center, can go backup just to break it up a little bit, bring it down to the rest of her. The pattern. And that's just with clear water. And also Monsanto here. This is dry, mouth dry. That's just do a little bit of a dry brush technique. So he just dragging a fairly dry brush. So it's often nice. I've put paint on my brush, adapt the excess on, start here and then just bring it home, burn it starts a little better. Texture. It's dry brushing. And he can just wake. So it looks like it's turning to. Another thing you can do then is you can just scrape the central little bit, says a stylus. Still a mess to perpetrate out a bit more. Spatter. Screener do the same here. They just fiddle about until you're happy. And there's lots of room to go back in if you're not sell. Turn up toward too much Patna saying, let's do some dark leaves down, squaring, be seeing green and start to have parent green to me. It's very effective and dreamy. This is not since it won't be when we do our pay something for the both both the pages. And because I'm having to think connects plane, so it will be a lot quicker knee, so a material piece together. So what we could do then scrape shapes into leaves, veins to stay alongside. This has already dried and this is one of my favorite. You can just hold it. You have seen Chris is why you have a very pale color flowing into a dark color adult that when that happens, I can't really seem to make happen but enjoy it when it does. Say, you've done leaves to catch some erroneous here. Just keep going back to this. Anything inappropriate with this feels like it's not really connected to the center. So I'm just using water to bring it back home. Opener quite like a wave. Going into this deeper color hand making a shape. So then we can also migrate some custom size and pace. And I'm just chasing the stylus. You can use send pink variable. I'm integrator note neck greater or something like that. Pink in the center here. It just gives you an impression of stamens and make the episode lying about. So that's the basic design. And we're now going to just do this. So two pages and what can quickly, but also knowing that they can come back and you can change something. So if you're not happy, all the packets look the same. You can go in and drugs small paint over. It cannot leaves. So let's move on down to multiple two-page spread. 5. Our Sketchbook Project: Definitely the next part. Active site, the market price. So this is just some function. Okay? I shop at least arcs, arc. Nice. The two out of five. Hi. Okay. Now. Okay. Hi. Thank you. What are we doing? Hello. In the introduction. Hello, We do. Hello. 6. Rosa Rugosa Gallery: See you again Soon!: Thanks so much for joining me and I hope you've really enjoyed it. And you're going away with some techniques that you can use a nephew turn your sketch books. Putting some time aside. I love to do the sketching is really important because it's a no pressure way of developing your style. Single leaf, you know, with the rest of the food terms of these beautiful Muslim, the GFC. And I hope to see you again really soon. Hello.