Rustic Fall Watercolor Wreath | Sweetseasonsart Cris | Skillshare
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7 Lessons (42m)
    • 1. Introduction

      1:05
    • 2. Supplies

      2:33
    • 3. Basic Elements

      11:40
    • 4. First Layers

      16:09
    • 5. Additional Elements

      3:50
    • 6. Completing Your Wreath

      6:13
    • 7. Final Thoughts

      0:25

About This Class

Come along with me and learn to paint leaves, pumpkins and fall wheat and assemble them in a gorgeous, layered watercolor wreath!  This class will take you through each element of your fall wreath and show you how to lay the first layers.  Next, you'll learn some additional fun "fillers" and how to complete your project in all the warm, rich colors of autumn!  This class is geared towards intermediate painters who have some knowledge and experience with watercolor.  Happy Painting!!

Transcripts

1. Introduction: I I'm Chris. Sweet seasons are a watercolor Artists in Richmond, Virginia. Welcome to my class on how to pick a rustic fall. Grab your favorite mug and warm average and come to me. First of all, e don't know about you, but fall is my favorite season of the year. I love the rich Reds, Deep gold and coppery Brown's of nature. And I guess that's why I like to paint fall with watercolor the best. Today we're gonna paint our own rustic fall rate. This is a great class for beginners. Also good class for intermediate painters and anyone who just feels like hanging out with me for a little bit and doing a little fall painting. We're gonna start with the individual elements of the wreath and work our way up to putting it all together. You can do it like mine or put it together in your own way. Come join me now and let's do some fall painting together in the beautiful colors of this season. 2. Supplies: Let's really quickly talk about simplex First off paper, I like to use arches £140 whole press paper. Use whatever brain works for you. I like a block. You know that for my prior classes. But use whatever works for pains. If you have pre Miss decadent pie set, this'll be easy for you. I like the dark blue in this. There are rust tones here that you can see and some gold tones that will work really well. So it's really easy. If you have this set, we'll use a lot of the colors, including this dark brown and again the rest colors for your deeper tones. So if you have this, just pull it out, and that's what will use if you don't have the decadent pops. Don't worry. I'll show you some other colors that will work, and you can use any brand you have. Okay, so for yellows, I'm gonna use a Windsor yellow deep and a yellow ochre for those air Windsor and Newton. This is Daniel Smith's this beautiful burnt orange. So find that or another burnt orange that works for you, it doesn't matter. And then for the blues, I really love the indigo from Windsor and Newton Comix, along with its cobalt blue. It might. It loosens up the darkness of the indigo little bits and those mixed Really nice. So that's really it for paints. Yellow Oakar, winder yellow, deep of your blues and your rusty orange, and you're all set. Alright, guys, let's talk brushes. It's your assortment of round brushes, any type that you like and in various sizes. So Princeton aren't brushes. Pigeon letters get smaller ones like a zero. And like a six, you can get some real detailed ones like this. Number two. I really like this for details, rooms and art supplies. Gonna need a couple larger ones, too, Like eights and tens. Guys try. Some of those will be good for the leaves and the bigger elements. And then again, we want a little bit of more precision. 0.66 or eight, even a four. Let's look at what you have, and those will be good for details, but that's all we leave for brushes, Justin assortment, whatever you have, will work just fine. The last thing we need are some paper towels for blotting and some clean water. Not like this, and really, we're ready to paint, so let's get started 3. Basic Elements: Okay, guys, grab your indigo and let's start our first pumpkin. Just gonna make sort of a C shake as much or as little water as you want, and then a backward C shape. So it's gonna be almost like an oval slightly pointed at the top. OK, and then you're just gonna kind of repeat this in little slices on either side, just sort of put it right alongside. And you can add water at pigment and making its darker a slight as you like. I'm leaving the little spaces here to denote the different sections of a pumpkin. Later, we'll come back in and will make those little dividing lines darker toe. Add a little dimension to it. Let's get our basic shape for now. Don't worry. If you mess up, that's gonna happen. I do it all the time on the background. Add these tinier little curbs. See how I'm doing this here. It's just a small segment, cause that's all you could see from the front view. I kind of pull it over the top of the pumpkin to Miller's trail off along the bottom. We'll do one on the other side. Bring it in a little triangle towards the center, and we're gonna leave the back part open a little triangle. We're just gonna leave a little section open in the back. Add some darker tones at the top and the bottom of each of your segments if you want. That tends to add some depth. Intimate. Okay, let's practice on another one. Every pumpkin will be a little different. That's okay. That's just like real life. And now we're gonna add some steps. Grab a little of your yellow Oakar or winter yellow deep, just really lightly with your size six, or you get to. Maybe I'm thinking 22 or zero might help, because thes air small details. Get a little of your window yellow, deeper area, Loker and make a little stem shape. It's pretty simple, kind of. Work it into the little curves at the bottom and pull it out of the top. The's air All difference. You could square it off or pull it out like a vine. See him adding darker tones towards the bottom, just as little shadow. We'll do one up top, Teoh. So I think our stems look good. Let's go back and add just a little bit of detail. You'll notice that a lot of these sections air still wet from using my zero. And I'm going in with a little bit of blue but very subtly outlining the edges of each section. Do that along with me, but you don't have to do. It just adds a little more a little more shadow. Things aren't supposed to be realistic, though, so that's OK. Now we're gonna move on to our next element, which is our rose. So grab a six and we're gonna probably use Let's use our burnt orange for thes as we practice the roses. All right, roses are just a bunch of see shapes as well, but they're uneven. They have small ends and thicker middles, so we'll start off with these sort of little blobs in the center. If you look there different, see shapes, trail out the atoms and make the middle sticker and wrapped them around each other continuously. Feel free to stop and rewind and look at how this works because you need to served in each one a little differently. They're always sort of fatter middles and skinnier ends, and you try to have them overlapping sort of offsetting one another and then trailing out larger and larger as you go, a little less payment as you go trail at the end in a little water allowed. The center of the pedal can then trail of the other past that one. So these air overlapping it's OK if they touch, it's okay to just use a lot of water as you get farther from the center of the center will be the deepest pigment, and as we get towards the outer edges, the pedals get wider and wider to see how it's deep pigment in here, spread it around a little bit because that's very dark, as contrast ing to these pedals spread a little that pigment around the underside of the seas. Small edges and lied centers like the roses opening as you go more just touch the pigment to the inner part of each battle that makes it look a little more dimensional like a flower . I'm gonna take this larger 10 and add a few more outer petals, but in a very, very pale See, it's almost hard to see, but sometimes it's hard to not just keep going and going, just touch the inner parts of each other with a little more. If you want to add a little more dimension, I find these hard. This is taking a lot of practice for me to learn how to dio Rose shapes and feel free Teoh rewatch and practice these over and over. I've had to do it lots of times. So let's leave this here is start on our next element. So now we're gonna work on the wheat stocks that you see here at the top of the reef. You start with a little tiny element at the top, so get your number two or a zero. And let's do these little tiny details before we add stocks. So use your yellow Oakar fairly pigmented and start stacking little wheat grains, I guess one on top of the other. They don't quite line up and you'll see the color gets a little lighter and lighter as I paint. I'm not going back for more. Condemn pit in water. It almost gives a little ombre effect. I like to do that. Let's add maybe just a center stock on this one. It will help us gauge where our bundle we bundle will be so we start with sort of a center one here, then just gets more pigment, and we'll start sort of placing them around, starting lower or higher to make them look like a bunch. Kind of put him like this where they look like one might be a little behind the other. You'll notice this one has a little more pigment, and they'll all be a little different. But really, this is the idea. We just keep making little wheat stock heads like this and then adding the little ranch down or the stock down to the base So we get a bundle effectively, so take your time and keep placing the heads of the wheat stocks in different directions, bearing the color a little slightly, bearing the size slightly. Place it in front of or behind the other stocks and add a little stem down to the bottom that kind of sweep out in different directions or straight down. So you get a little variety and how the steps are sweeping. All right, let's finish this off with some details. Each one of these stocks or stems might have a little leaf or an auction. This'll just gives the base a little more bulk, so we'll add a little of those. A couple of the stocks where we want to fill in a little bit of the white space. And then we're gonna want to take a wraparound. What Pull it from either sides and see it's like a little curve on either direction. That's the idea. Something is tying it up. So it's gonna cut across but not go behind. You See that? So don't do it all the way across. Just bring a little from the side. And then I could make almost I don't know. It's like a bow. I kind of like a little Luke and a little book just to make it look like someone tied rope or another stock around the bundle of this. The stems. Here you want to go back with some darker pigment along the bottom of the grain. Stocks go ahead and do that. It can help add a little something, but don't get too fussy. This is gonna be loose and rustic, so make it how you like it. Glass elements leaves. Grab a six and maybe some yellow, either yellow over winter, yellow deep. Just a little stem if you saw my class for beginners. Beginner re teach you how to do lots of different types of leaves leaves, or simply to see shapes. One forward, one backward that connect. We're gonna do some stocks commedia opening in the center. You can highlight at the base some darker pigment, and we're gonna do some different shades around. The whole grief they serve. Make the shape overall shape of the read. It's only to practice sort of curbing stems like this. 57 leaves, whatever we like. Bury your shades little more yellow, little more and can add some dimension to them by putting darker tones at the base of a leaf tip of the leaf. Saker backwards. See sometimes a secret esseker. But every lead will be different. Basically, guys were break. Start putting our wreath together next, So practice your leaves as much as you like. Take a look at my other class. If you want to practice some different types on, get ready to start the basic shape of our brief 4. First Layers: Now that we've practiced all the elements, let's put our wreath together. Grab a six or an eight. We're going to start with our leaves. We're gonna do them just like we practiced. Rielle over. Grab your decadent pies, yellow or gold. And we're gonna work first with this color. And then we're gonna build an oval just like the wreath. That's our example. So we'll start off by offsetting to stocks in yellow. And then we'll keep building there. So do it. Just like we're working on our leaf elements. Remember, you can add those little highlights as you paint the darker tones. Either at the base, believe for the tip. Leave the little white space in the center. You like that? Look, just paint your stock the way you like it. - Now that we have one done, let's make this symmetrical and do one basically on the other side. It's easiest just to flip your paper and sort of do it diagonally across from your other branch. So now that we have the two golden branches, let's use this rest color and add to our oval wreath and continue to make it in that shape just starting one branch generally, where the other one left off, but leaving some space. Yeah, so now that we have those colors, let's get our deep blue. And let's place one bridge here along the bottom. Well, obviously, do another one across from it. Don't worry if it looks like the end of your branch is gonna run into another bridge overlap, that's totally fine. If it's dry, you can just bring that leaf right up to the other one and add some darker tones and just make it look like a leaf goes right behind the other one. If it's really dry, you can paint over top. Let's leave a little space at the top now, and you are other blue branch. Okay, now we have our basic shape and we have our leaves. So let's get a six and let's fill in some of these bases with some pumpkins, just like we didn't before. Let's pick our blue and set maybe two pumpkins in this upper space, and then we'll see. Where else do you want to put him on the page? The O. Yeah, - remember to put your little slivers of pumpkins, little triangular pieces towards the back and then to pull them down in a really narrow segment. And remember to leave place at the top for the stems like we did before. And you can go ahead and add your detail darker spots as you go while the paint is still wet. We can wait till closer to the end and sort to find those segments more clearly when you're done. Look, so I like this shape. Generally, I'm going to get zero or two, and I'm gonna go in and make some of those detailed marks. Now, while the paint is still wet way have some space here because you want this wreath to be fairly thick. Gonna take again A two or zero. I'm gonna make a smaller pumpkin right next to the first word. Okay, let's go ahead and place another pumpkin right across from those two. Just gonna do one here, rose or something else next to it just to make it a little different. And it might make this one a little funky. Your shape. So it's a little bit different than the 1st 2 So I like how those looks. So let's go in and do our stems. Hear me? Use are burnt orange are rusty color to add some stems, just like we did for me. Practiced and I might haven't go in slightly different directions. You know, - remember , you can add a little darker pigment at the base of the stems to give it a little depth and work it into the little white spaces a little. So grab two or your zero now and let's start working on wheat. Stocks will put our first bundle of wheat stocks here at the center in the bottom in the space that we left. You want to start in the center of the circle a little bit towards the middle, just to leave room for the stocks to hang down and kind of outside the bottom of the leaves . Think about the placement a little, but remember, we can always fill in with other smaller leaves or other little details that I'll teach you in our next section. So don't get too hung up on the placement of the wheat. Stocks are really of anything on the reef because we can always fill in and make more symmetrical as we go, and it's not supposed to be perfectly structure and so everything is that lines up with everything else. - So here's where we just add. A little bit of that detail to the stocks will put in some of those little leafy parts that we did before. And we'll work on putting the one bundle wraparound line now that we have enough stocks in their e usually do an odd number of the week heads just cause it looks a little better. But it really it really doesn't matter. There's no perfect rule here and feel free to go back in and underline some of the lighter ones. A little darker pigment. If you want to ask and now we're ready to go ahead and do our second bundle again, look at the placement. Don't do it too close to the top of the page. Do it. So the base, the stocks will come into the circle a little bit. Set your measurement and place it above the other bundle and let's get this one. Yeah, - so we're very close to being done with the wheat stop part of our reef. Just need to add these little semicircle sides and finish off the top and bottom with a little not a thing almost like a bow. I do not done down here, so I'll finish that off and we'll do it up top to then wear really ready to move on to the final base layer, which is our roses, so we will do knows. Next. We're getting really close to being done with your first layers. So let's go back and get our six or even eight now. And let's fill in these spaces with some flowers. I think we'll use different colors. I might do in a yellow okra one here on may be different ones as we go around. Start with the yellow poker one here. Do you feel like doing rest are large by all means. Do that. Let's just make our little see shapes offset them from each other on. Then start pushing out our pedals in si shapes. Those narrower ends on wider centers. Adding pigment just on the inside of the sea offset them a little, just like the petals of a rose. So I'm happy with the size of that. I'm gonna leave that one there. Think over here. We need a little something so I'd like to do a breast colored rose over. Decide. I'm gonna tuck it behind the leaves we have here. So watch as we do that as we expand out, we'll just around the leaves and it will look like the roses tucked behind again. We'll start with the darker pigment in the center, and then we'll just keep pushing out. So now I would like to do a similar rose sort of across from this to add some symmetry here and see how that was tucked behind. And I think we'll do this one, actually, on the inside of the leaves, as opposed to the other two, which were on the outside but again will do that sort of talking behind technique. Start the center pretty close to the leaves and will tuck it behind these blue leaves up here. So we're almost done with the flower part of our grief at a little more jets to the inside of these pedals, a little on the outside tucked behind the blue leaves because I like the way the layering looks, but basically we have the first layer in the basic shape of our recent. Obviously, we are quite done, yet there's a lot of white space here to fill it. We can repeat some of these elements and add more pumpkins if you like going to teach you a few other little details. 5. Additional Elements: Okay, so we have this gorgeous start of a wreath here, but we have spaces that are blank. Let's go back to our practice page and practice, um, elements that we can add to what we already So I am gonna pick. Sort of a bird number this'll darker brown in the decadent pies. Palate can see. It's a reddish sort of brown, so pick something that you like that has a little bit of a darker tone, might mix a little of our golden with it. So it's not too bold that let's practice a couple elements we can use to fill in some of the blanks. Maybe we start with some Berries, so these are gonna be pretty simple, like a very short stem. And it's just a circle. I like to leave a little bit of white in the center or toward one side. It looks like a highlight. Do another quick stock, and a second berry can be the same size. It could be smaller. Whatever you're comfortable with. Whatever works for you, leave a highlight or don't completely up to you. Thes will look different every time and again. You want to look rustic. They're not gonna be perfectly round, you know, perfectly the same size. That's fine. We can add shading on one side if you want, but I'm just gonna kind of have the stem here. And you, Leaf. Maybe we'll add a leaf. This will help bulk up our read a little more. So I like the way those look a little asymmetrical. I might actually at a second leaf here, and you can do these differently each time you place them on the reef. One leave for two. Another thing we can do to bulk up our great is to add some layers on top of what we already have. So here's our example of where we did the golden leaves. But we can take this nice dark brown and add maybe just a couple of leaves over top. They overlap a little, but they also fill in some of the white space. You could do more of these leaves or just leave it at two. But this is a nice way to add some layers to your grief and also fill some white space and bulk it up. We can also add just some additional standalone stocks that are a little bit smaller. The's looks just like our larger bridges or stocks, but they're a little bit teen years, and they fill in the blanks. So if I was going to use this, for example, I might take it up here and place it in the white space along the side of this branch. And again I might overlaps in the leaves or just leave it in between. And I'll mix it in with the other elements to make thicker and more full. Some one last thing you could do is do just a quick little brush frond. Be sure to call it. It looks a little bit like the top of a week tassel, but you just make a stage our line and pull each side out. Pine needles will use a rustic fall colors so it will look like kind. Uh, I'm mixing a little gold and a little of the burnt orange here. Little yellow okra, some of our darker tones just to get something a little bit different. But pull out those sides dark in the centre stock A little and again, you can see how something like this would really help fill in the blanks if you had a lot of white space, it's very have a guys. You have a couple different elements you can use to fill in some white space and picking up your wreath, so let's go do that now. 6. Completing Your Wreath: Now comes the challenging and a little bit of a time consuming part where we have to go in and fill in all the blanks. This is a personal decision on when you're done. We can start off doing kind of things symmetrically looking at our white space and filling things in, and then it's just gonna have to be what feels right to you. I'm gonna add some blue leaves on this side because it's right next to rust color and the golden wheat. So if I add a couple blue leaves there, maybe I want to. You add some up here in this area. All of this is judgment call. You can paint along with me, but I'll be perfectly honest with you. This part took me at least 20 or 25 minutes just to get all the rest of these details in. I took my time. I stopped frequently toe look at my reef to see where it was. Maybe a little unbalanced, but remember, it's a free flowing wreath. It's not perfectly symmetrical. It's not an exact science. So take your time. Take a pause every once in a while toe. Look at your white space and think about where you want to add some of the little details that we talked about, for instance, that white space there. I think that needs some rust color, and I think it needs bigger leaves because it's a lot of white speak. So I think because the red is so bold, it's a nice layering over. I'm gonna try that on the other side, and I'm gonna keep turning my paper and working in the details that we talked about tad layers and richness and fullness to our wreath up here. For example, at this Rose, I'm gonna add a leaf just coming off the side when added in gold, because we have blue and rust here already. So I think that's fun. We could ads and leaves around the flowers. The other place we can add leaves his little teeny leaves coming off of our pumpkins. That's a fun detail, adds a little bit of a layer, and so feel free to do those little things to as you see special little details. You can add that that make the wreath more fun. I wouldn't starting with our darker brown. Now I feel like we have a lot of the gold and the rust and the blue, and I'd like to get some of our darker browns and there to start adding some contrast. So I'm going to start adding some Berries in the darker brown and probably some leaves, too, just to add a little more contrast so it doesn't get too kind of law. So let's start in with a little bit of brown and pick some spots around our wreath, where we need to add a little bit of some darker tones. - Yeah , remember that you can tuck things behind other layers by just going right up next to it and then continuing past. - Now I think, would be a good time to add some of these little wispy fronds things to help fill in a few more blanks. Don't get stressed. If you look at the wreath and you think this looks really wonky or crazy, that's just gonna happen. As we move through this process of filling it out the rest of the way. Just keep going. Keep filling in the blanks and it'll eventually get to a point where you're satisfied with it. Yeah, look, well, I think we're about done here with this wreath. And I hope you're satisfied with where yours is. If not, keep working at it. And please post your project. I would love to see the results of your rustic fall reach. 7. Final Thoughts: Thank you for paying with me today. I hope you enjoy painting are resting fall. I love to see how you put together all those elements we learned in your own rate. Please post your projects to scale share so I can see them. I'd love to give you some feedback and I love your feet back on my class having painting?