Watercolor Bouquet Leaves | Kolbie Blume | Skillshare

Watercolor Bouquet Leaves

Kolbie Blume, Artist

Watercolor Bouquet Leaves

Kolbie Blume, Artist

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18 Lessons (2h 45m)
    • 1. Intro

      1:27
    • 2. Materials

      8:06
    • 3. Warm Up: Movement & Grip

      6:48
    • 4. Warm Up: Brush Strokes

      6:52
    • 5. Basic Leaves

      6:04
    • 6. Lemon Leaves

      13:35
    • 7. Myrtle Leaves

      11:59
    • 8. Lamb’s Ear Leaves

      17:03
    • 9. Eucalyptus Leaves, Part 1

      10:32
    • 10. Eucalyptus Leaves, Part 2

      7:19
    • 11. Fern Leaves, Part 1

      5:29
    • 12. Fern Leaves, Part 2

      12:09
    • 13. Filler Leaves

      7:45
    • 14. Final Project: Layer One

      21:26
    • 15. Final Project: Layer Two

      9:32
    • 16. Final Project: Layer Three

      12:38
    • 17. Final Project: Layer Four

      3:14
    • 18. Recap

      2:39
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About This Class

Let's have some fun painting some of the most popular leaves used in gorgeous bouquets! Learning to paint leaves is an important step to mastering florals, and in this intermediate-level course, we go into the nitty-gritty details of loose eucalyptus leaves, lemon leaves, fern leaves, lamb's ear leaves, and myrtle leaves. 

Meet Your Teacher

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Kolbie Blume

Artist

Teacher

 

Yes, even you!

Don't believe me? 

I bet I can change your mind!

 

 

I'm a full-time artist, writer, and online educator -- but up until a few years ago, I was working a 9-5 desk job and thought my artistic ability maxed out at poorly-drawn stick figures. 

In my early 20s, I stumbled on mesmerizing Instagram videos with luminous watercolor paintings and flourishing calligraphy pieces, and my mindset slowly shifted from "I wish" to "Why not?"

-- and the rest is history! ... See full profile

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Transcripts

1. Intro: Hi, My name is Colby, and I am a self taught watercolor artist. I am so excited that you decided to join me today for my class, all about watercolor leaves, particularly because leaves and I have a little bit of a messy history where I did not like painting them for a long time. And it took me a while to figure out some methods and techniques that really worked for me . And so I'm excited for this class today, especially because we're going to be going over very specific kind of leave styles like eucalyptus leaves and this lemon leave and fern leaves are always are always a favorite. We're going to learn, Ah, several different styles of riel leaves that you see in real bouquets. And then we're going to put them all together to paint a really cool grief that is only made up of the leaves that we learn that looks like this. So if that sounds like something fun for you, if you really want toe, dig into the nitty gritty details of what it takes to form these loose watercolor leaves that really exist in the wild, then take a shot with me. and head on to the next video to learn about all the materials that you'll need, and then we'll get started painting. I'm so it's I can't wait to get started and to see what you come up with. 2. Materials: okay, Before we start actual painting, let's gather up our materials. I'm gonna show you what materials I'm using, and you can feel free to go out and find the materials I'm using or use whatever you have on hand because, well, I'm sure you can create something beautiful with whatever you have that said. Let's start with paper. So I am using student grade and professional grade watercolor paper. Um, the most important thing for both of these is that the paper is at least £140 which just means when you have a ream, which is 500 sheets, it weighs £140. Usually the weight of the paper will be right on the label, so you can tell I always, always, always use at least £140 when I'm painting were illustrating with watercolor, and it's important that it's watercolor paper because watercolor paper has built specifically. So it's heavy enough to withstand, um, the damage that you're doing by putting water on the paper as much as possible. So both my student grade and professional grade or £140 paper they're both cold press which just means that they have a little bit of tooth to them. There are a little bit rough, and, um, my professional grade paper is legion paper cold press. The the biggest difference between this legion professional grade paper and then my student grade paper, which is Fabre Yano, the studio watercolor Fabbri Otto, is what it's made of. Professional grade watercolor paper is made of 100% cotton, while student grade is made up of wood pulp or just a combination of lots of different cheaper materials, and that just the 100% cotton is more absorbent so it can withstand the water a little bit better. And it also helps to bring out the vibrancy of colors a little bit better than would pull does. Um, That said, professional grade is usually more expensive, which is why I like to practice using student grade papers. So I'm going to be using both in this class. Next. Let's talk about paintbrushes I'm going to be using um, All of these are synthetic sable hair, which means that no animals were harmed in the process of making these brushes, and two of these are in the round shape, and one of them is a mob brush, So we're gonna talk about that in a second. That's the mop brush, but these two around shapes are ones that are pretty familiar. I've used them before. Ah, the first. I have a size six, Um, and this is Princeton Heritage Siri's, which you recognized by the bright red handle and the gold metal clasp. I really like the Princeton heritage, Siri's. It's probably one of just my favorite go to standbys that I use often and again. This is a size six, and then this brush is a size 10 around size 10 also Princeton. But it's the syriza's Neptune Siri's, and I like to I I wanted to bust out this brush for our leaves course, because the Neptune Siri's of Princeton brushes are a little bit more loose. Ah, little bit more like mop brushes, Um, then this ramp there, technically, these air both around shape, but this the way that the bristles are put together, this brush can hold a lot more water than this brush can, and it just is. It doesn't quite hold its shape in the same way that this round brush does and I really like using brushes like this for painting like leaves and florals, because I think that it helps me kind of lean into a move movement with the water color a little bit more. But it is important to note that it does hold significantly more water, so that could be kind of tricky. And which leads us to the mop brush. I thought that, but trying out some leaves would be a good place to demonstrate how I like to use the mop brush. Um, and the mop brush has the same kind of characteristics that I talked about this Neptune, this Princeton, Neptune, Siri's does where it holds a lot more water, as you can see, compared Teoh the classic round brush. The bristles don't like, come together and hold their shape in the same way. Although this is professional professional grade brush, they're just very loose, which makes your painting very loose, and you can get a lot of movement with water and a lot of cool texture this way. But it's important to note that the extra water makes it a little bit tricky if you're not used to it. But I think that these could be really fun for painting big leaves. They're also really good for painting big giant washes, but we're not gonna be doing washes in this class. Okay, so those are their paintbrushes. Next, let's talk about paint. I'm using professional grade artist artist grade paint today, and I'm exclusively using Windsor and Newton. Today. I have in the past circulated different kinds of pain, but today is a Windsor Newton day, so you can paint your leaves any color. Honestly, it is you with these are your leaves your bouquet? Um, but I just pulled out some of my favorite greens that I like to paint. Uh, leaves with. So some typical grains that you see in lots of wreaths are hooker's green and sap green. Hooker's green is more of a traditional green, like a more vibrant middle of the road kind of green and then sap green. This is permanent. South Green has a little bit more of a yellowish tint to it, so both of them are really excellent for typical leaves. And then, if you want leaves to have, you know, sometimes if you paint eucalyptus leaves or other leaves like lamb's ear leaves they have a little bit of, um, attend to it like a blue tent or just kind of a different texture. And so some of my favorite paler green, um, and more textured colors to use our this Davies gray, which it says gray. But when you paint with it, it's It's more like a very light sage. And then also, ah, this terra bear take color, which is also like a light stage, a little bit of a deeper kind of stage. But both of these our have kind of paled, more textured washes, then these two green hooker's green in sap green. So I'll demonstrate all of these throughout the course. Um, and as we wrap up materials, I always like to have some kind of mixing palette, whether that's Ah, plastic pallet with that, you have your paint on or this is my one of my porcelain mixing, mixing bowls that I like to use a lot. Porcelain just washes off without any stains. A lot better than plastic does, and it's a little bit of a smoother, a smoother surface. But plastic is cheaper, so either one works. But I have both for you here. Then As always, I have two cups of water, one that I always like to keep clean. I always like to keep some Q tips on hand, just in case I have to mop up some excess water and, um, a paper towel onto the side of me to wash off my brush in between in between painting sessions. So I think that about wraps it up for materials. Gather all of yours again. No need to use exactly what I'm using, but always helpful to note the tools of your instructor is using and let's move on to the next to the next chapter. 3. Warm Up: Movement & Grip: all right. So before we start painting the actual leaves, let's do a few warm up exercises first. I always like to test out, especially if you are going to be using new brushes like this is the first class. I've introduced them up brush before then. I always like to test out my brushes before I use them on nice paper so that I can get a feel for them. So let's see what this month brush conduce. So I'm just picking up some random greens from my palate. And as and as you can see this really watery, it's picking up lots of pigment. And, um, I I'm just kind of messing around with the shape of this brush. Noticed how much shape the brush is in even after I pick it up the water, just like the bristles move in this really smooth kind of together kind of way, and so toe get instead of like me directing like picking up my brush and moving the brush exactly where I want to. It's almost better to utilize the mop brush. In my opinion, um, by moving your hand and kind of twisting the bristles to get a sense of the movement that you can make with the bristles and and how far they go. So, um, along those same lines, I'm gonna now pick up my number 10 brush, which is pretty similar to the mop brush. But it's just smaller so that we can get some smaller movements here when we're painting leaves, it's really important. At least I believe him when I my leaf painting philosophy for this, these kind of loose style of leaves that are more like, ah, loose representation of what these leaves were supposed to look like, as opposed to very super, super realistic. Um, it's like the movement of your paint is very important, and so and the movement of your leaves and, like the shape of them, are very important. And so some warm up exercises that you can dio are practicing, used in one stroke, going from thick to thin. So see how on this stroke I started really thin, and then I went really thick by pushing down on my brush, putting exerting pressure, and then I am lifting up to be really thin again. That's this is a kind of movement. We're going to practice a lot. Uh, this stroke where we're going from thick to thin. But as you do it instead of just doing the typical thick to thin like this Like I know a lot of leaves look like that. Um, try also just like moving your brush while you do it and to see what different kinds of shapes you can make while you are painting. And as you are noticing, when I'm creating loose movements like this, I'm not holding my paintbrush like, really close to the bristles. I'm also not holding it like a pencil. I'm holding it a little bit farther up on the handle, and I have, like, a loose kind of grip. I'm one of those people who, instead of holding my paintbrushes like this where my pointer finger is on here and it rests on the middle finger. I hold it with both my middle finger and my pointer, and it rests on my ring finger. But either way, I am holding the brush with all three with my thumb, my pointer and my middle finger. So I have, like, a decent grip on it. But it's farther up and my group is a little bit looser so that I can, um, let the movement of the brush be really natural, as opposed to trying to force it in a specific direction. Because with loose watercolors, honestly, the coolest part about loose watercolor Ah, that cold genre is it doesn't have to look perfect. And that style is perfect is great for painting nature, because nature is not perfect, right? So when it comes to practice and warm ups, I always would practice going again from thick to thin to thick, to thin and one stroke, and to see what different shapes you can make when you are doing that. And then just try practicing your grip to see what is the best place to hold the paintbrush for you and notice how my paintbrush doesn't always stay in the same place. I'm not always holding at an angle so that it stays at an angle. I am moving around. I'm physically like moving my hand and twisting the paintbrush around in order to create that kind of movement that I'm looking for and, like, almost moving the paintbrush, going from an angle to the side to lifting the paint brush so that it's at so that it's like 90 degrees, or like perpendicular to the to the paper. There are lots of different ways, and so I would just experiment with how you hold your brush and how you can manipulate the movement of your brush by manipulating it physically in your fingers while still maintaining your grip. And it might be a little tricky at first, so it takes a little bit of practice, which is why I think it's a good warm up exercise. Um, and don't be too discouraged if you I feel like the first time you're trying this, it's It's not so smooth in your hands. That's okay. Ah, the more you practice it, the more you're going to come up with, um, a grip that works best for you eyes. That's something that I've really found. As I have looked at videos of other watercolor painters and watch tutorial videos like this , everybody honestly has a different opinion on what's the best grips for holding your brush . So, uh, do I did I'm just experiment with it and see, see what works best for you. So that is my tip for movement and grip for warm up. So I would recommend practicing those things. Ah, warm up your hands. Warm up your paintbrush warm up by getting to know the tools you're using. And then let's move on to the next warm up session, which is going to be all about brushstrokes when it comes to leaves. See you soon. 4. Warm Up: Brush Strokes: Welcome back now, Let now that we've practiced movement and grip. Let's focus more on specific brushstrokes that are going to be useful as we paint our leaves. Now, if you've taken my loose florals class, my first loose florals class that goes over roses and poppies and cherry blossoms you some of these, uh, strokes maybe familiar for you because I go over this specific leaf stroke in that class. But if not, here is a quick review. Uh, so, like we practiced going from stian too thick to thin in one stroke. That's basically how you form leaves. And so what's one of the brushstrokes? I would definitely practice again. Going from thin to thick to thin and arching it like this creates what I like to call the crescent stroke. So if you start at the bottom and start very thin and then exert a lot of pressure and kind of shape, your stroke Toby in the form of imperfecta and rough kind of crescent, that is one of the basic strokes. That's really important for leaves. And it's really important to, as opposed to just going from thick, thin to thick to thin, like that straight outward like that for painting realistic leaves or more, a more realistic shape of leaves. Teoh put in a little more movement. They don't always have to be as curved as arched as this crescent stroke as thes crescent strokes that I'm doing that could be a little bit more shaped like that. That's fine, too, but giving them a little bit of movement just makes them look a little more realistic, like they're rustling in the wind or something like that. So that's the crescent stroke. And then there are a few other strokes that don't really have names. Um, that I haven't that I haven't named mostly because it's just kind of a lot of different movements with your hands. Um, but I'm going to go over them right now. So the crescent stroke goes. It starts out thin on ends. Thin right? But sometimes leaves don't end in that point like that. A lot of the leaves that we're going to go over in this class actually like lamb's ear and eucalyptus leaves don't end in that nice little point. And so one of the brushstrokes that's important to practice is, um, practice moving your brush in this round shape. And if you took my florals class, This is very similar to the teardrop stroke where you start thin. You start at the bottom of this circle right here pretty thin, and then you get put more pressure as you go up to the top and using your grip like we talked about in the last class, you move your brush so that you're creating kind of like this circle like rounded top. And and then once we learned to create the leaves will learn how to fill them in so they look like leaves and not like pedals like how they are in the loose florals class. But having that nice, rounded talk is a pretty common way to create some of the leaves that we're going to practice today. So that's one another of the breast stroke that I would practice. I wouldn't practice doing it like a perfect circle because we're not creating perfect circles with these leaves. We just want around a top, um, and then another kind of in between stroke to think about as instead of around it. Top is if you start with the crescent stroke and instead of like this perfect circle kind of top. I mean, if you have more of like, um, it's it goes thin and goes into a tip. But instead of being, ah, very sharp point, it's just slightly rounded after that, the tip of it. That's another really common brushstroke that we're going to be using. And so what? The way to practice that is, by starting at the bottom. I mean, wherever you start, how to be the bottom and beef and start very thin and then gradually get thicker and then toward the top. When you're practicing your stroke like this, you get a little bit thinner. But instead of stopping and lifting up at a point, you kind of round out your leaf by coming around with the tip of your paintbrush and moving it back toward the leaf that you just did. And you can do that in one stroke. I know it seems like, Oh, but I just How do you even do that without having to Little's? Lift up your brush and you don't have to. If you want toe, do it in different phases, that's totally cool, too. But practicing getting sick and then going just a little bit center and rounding out the end, Practicing, getting, ah, moving from thin to thick I'm gonna angle my brush to considerable so you can see a little bit better moving from thin to thick and then going to sin again. But just rounding out that edge a little bit by moving back into the leaf is going to help a lot when we form Um, some of our other leaves. So that is the third brushstroke that I would recommend you practice just to recap we have this crescent stroke, which I talked about my florals class going from thin to thick to thin in this kind of loose, rough crescent shape and then a modified teardrop stroke to make this more rounded. Ah, shape of leaf. And then having this also, kindness is also kind of like a modified crescent stroke where you start like a crescent and you get sicker and but at the tip instead of lifting up to be very thin, you just round out that leaf so that the tip is just a little bit more rounded. Um, so these are some strokes. I would practice, and they're going to help a lot as we go over our leaves. But for each leaf I'm going to do, Ah, a an in depth demo of each individual. Leaf is well on how to incorporate the's difference, uh, strokes into shaping reliefs. So practices and then let's move on to forming the basic leaf. 5. Basic Leaves: all right. Now that we have warmed up a little bit, let's just finish out. Are warming up sequence by using some by using our are now loose, looser hands and full or knowledge to form some basic leaves. Um, so by basically, if what I really mean is, these leaves can look like a lot of different leaves. And when you form a leaves loose leaves in a like in a wreath or in a watercolor piece. Thes air mostly what you mean. And so I'm not giving them a name because they look like a lot there, just like a generic leaf and two former generically for mostly going to be using that crescent stroke that we used in our warm up earlier. So let's dive right in to former. Basically, first I'm going. Teoh. Use the very tip of my brush to make a thin stem. And, um, the thing about loose watercolor leaves and loose florals in general is that we're not adding extra detail on top like we're not going to use a detailer brush very much, too. Make thes leaves look really realistic. Instead, we're going to utilize white space and movement and texture to kind of mimic the details that we're leaving out, and so I'll show you exactly what I mean to form this. Basically, if I have formed the stem first and then on one side of the stem, I'm going to form a do a crescent stroke where I started pretty thin and then once thick and lifted up my brush to create that thin point. And then on the other side, I'm going to do another crescent stroke. But instead of starting right where the leaf is, I'm going to start just a little bit away from the stem and meet that top of that point with another crescent stroke just going underneath. And I'm leaving a little bit of this white space here to replicate the vein of the leaf of the stem that we're leaving out. I'm not going to go back in after this is dry and paint in the veins of the leaves. Instead, I'm utilizing white space right here, too. Indicate that that's where the vein of the leaf should be. And so to paint, like generic leaves like this. That's basically what the structure that I like to dio I always start my Crescent strokes from the stem and leave my point up. I never start from the top and go down just because I find it's a lot easier to leave the stove ain where we want it and to get the kind of point that I want when I start from the stem. And it's important to note that Miley, you're my leaf isn't always going to be like, really straight. Sometimes it can be a little more bended bent, I guess, is better than that. And, um, that can just give a little bit more movement and flow and that you don't always have to do it all in one stroke if you want. Like I did just there. You can go back and use your paintbrush to fill in the spaces or to kind of shape it more the way that you wanted to, Um and but notice how this leaf is a little bit more looks like it's, um, facing outward as a like facing down like gravity is pulling it down a little bit right here, as opposed to judging outward. Like that leaf. Um, and also important to note is that usually, if you're giving your leaf movement, Um, and making it look a little uneven, like leaves are supposed to look, then one of your crescent strokes is not going to be, um, as full as the other ones. So usually, when I start with the top Crescent stroke like this, the bottom one is often smaller, and it's like just a little bit smaller of a crescent stroke so that my leaf has that little uneven lilt to it that I think looks better. But it can be more even like this one if you want or more full. They don't always have to be. Um, some of them can be, like, perfectly full leaves if you want. Like this, Um, and you don't always have to have this, like, jagged edge. You can try to make it as smooth. This you could s smooth as you want, but I like to have the jagged edges sometimes because I think they look cool. So this is how you paint a basic leaf one more time before we move on to painting very specific styles of leaves. Um, I start with the stem using the very tip. I'm using this number 10 brush and you might have been able to see how much water comes out of this. I'm starting with the stem, and then I'm using my brush. I'm forming a crescent stroke on and then another crescent stroke, leaving just a little bit of white space to indicate where the vein is supposed to go. So those that is how you form basic leaves, uh, using loose watercolor techniques. And I would practice these because when you have these down, it's gonna be a lot easier to use these techniques to replicate more specific leaves that we commonly see in bouquets that were practicing today. So practice this and then let's move on to our first official named Leaf the lemon leaf. See you soon. 6. Lemon Leaves: welcome to our tutorial on painting a loose water called watercolor lemon leave. This is the first official, like named Riel life leaf that we're going to practice in this class and in order to help us, even though we're creating loose styles, sometimes I find it really helpful to pull up a real picture of the leaves that we're trying to paint just so I can, you can gauge exactly what the structure is going to be like. So this is a picture of a lemon leave branch of just a bunch of lemon leaves that might be in a bouquet and right off the bat, I noticed. Okay, this is generally the basic shape off those basic leaves that were practicing. There's that pointed the end. There's, um it looks like mostly there, even on both sides. One thing that I would note is that when I was practicing with you, I pointed out that sometimes I like to have the sides like one side bigger than the other side, and it looks like for the most part, thes lemon leaves are pretty full on both sides, and so the leaf doesn't do so much bending often as much as maybe the edges around do a little bit of bending, so it looks like it's not. I want my I want both of my sides to be mostly roughly the same, roughly the same size. But some of the edges, which indicates to me that this leaf might be a little bit thicker might be a little bit firmer than some leaves our little wrinkly. And so I might leave some of my edges just a little bendy, and not quite so. Not exactly circular. Um, And then, if I were to paint like just one leave stock, then they it looks like they similar to leaves. They jut out on both sides. Ah, little bit like every other one like that. And so this is something that I can paint. I totally have the ability and the skills to paint a leaf like this. So let's practice. I am going to grab my brush, and for this leaf I'm going to use hookers green because it looks like those leaves were a little bit darker and definitely like a brighter agree, not like a yellow tint. Um, I might even get a darker green if you have one. But for the purposes of this class, I'm going to use hookers green. And first I'm going Teoh, just practice the leaf shape a little bit. So I'm going to practice the stem, and I know that I want it to be a little bit more rounded and full on both sides, but also have some of a little bit of curve on some of the sides to show that uneven kind of roughness that we saw. So I am using my paintbrush to paint this full edges, and then I'm just gonna fill in that middle space that my paintbrush couldn't get in that single stroke. And I am If also I noticed that my edges are a little too rounded, I'm gonna come back in manually and change. That makes them a little more rough. So, um, I also want to note that it's definitely in the shape of a leave. It's not supposed to be like a circular shaped like eucalyptus, which is a different leaf that we're gonna practice leader on in this course. And so if I find as I am shaping it, the leaf turns into more of like if I were to draw a circle over, it would be pretty close. Then I just extended it down to the stem so that it's not quite as rounded as that. So Okay, let's bring back this picture to compare. Not perfect, but loose watercolor is not supposed to be. So I'm gonna practice a couple more, and then I'm going to paint a stock and just to get a little more comfortable with it, just in general for leaves. My biggest advice is to paint so many of them once you feel like you have the technique down just to keep painting them. And so now I painted one that way. So now I'm gonna paint one this way where I start with, and I'm gonna just, like, twist my paper, um, so that my brush could go in the way that I wanted to go, eh? So I don't have to do some like, hand acrobatics to in order to get the movement that I want, but so that my leaf can be oriented differently on the paper when I come up with the final project. Okay, so I formed the stem. Now I'm going to start a little bit farther down on the stem this time because I noticed last time when I started further up, it was more of my inclination to make it really round and shape, some starting a little further down. And I am making my crescent, and then I'm going to start my 2nd 1 and then just fill in very carefully the spot around it, and I have overlapped with that other leaf. That is OK. No, I'm just gonna add some little folds in here. Okay, so that's another one of my lemon leaves. Let's just do one more. Maybe going more like, straight up like that. So I'm starting on the side and then doing the other side like that, and that was an accident, but I kind of like it where my paintbrush didn't quite go. Up to this point, it looks like there's a chunk out of this leaf. But I'm gonna leave it like that because, um, that just add some kind of imperfection. So this is this is painting a lemon leaf and now let's paint a stock of the Islamic leaves . So to do that, I'm going to use the tip of my paintbrush. The very tip of my paintbrush, Teoh, Draw this stock and I'm gonna pull up this picture again and I'm noticing I'm gonna paint this right here, not the whole thing. I'm just gonna paint this stock right here, and I'm noticing that there's like a leaf at the top and it's slightly tilted. And then it goes the leaves very in in shape and size as they go down. But they alternate on either side of of each other, and it looks like some of them are even touching each other. And so I'm gonna allow that overlap to happen. And with my loose watercolor, that means there's gonna be some blending happening with my leaves. And that's OK. So first I have a leave that juts outward like that, right? So I'm just going to turn my paper and use my paintbrush to form this lemon leaf at the top , where it's a little bit wider in shape. And now I'm going to paint alternating when other leaves Ah, and different size. I'm going to make this one a little smaller, but still the same basic shape and trying to move my paper also so that you can see what I'm doing because I know that's helpful. And this is one of those cases where I'm letting one leaf bleed into the other one knowing that I'm in watercolor, and this that is okay, that's something that I want, Um, on Daz. I'm painting this stock of leaves something to be careful of. I don't want all the leaves to be exactly the same color value, meaning the same lightness or darkness. So I'm sometimes I'm adding more water to my paint. And sometimes I am having more pigment. I also don't want all my leaves to be exactly the same size. And so sometimes I'm gonna consciously make a bigger one like this one right here. And I'm gonna have that overlap that guy that little leaf a little bit like that. And, um, on the stock of leaves, you can also see that there's a little stem jutting out from this original branch. And so I'm making sure to paint that little stem and so it doesn't get lost. They and I'm not painting my leaves. Exactly. So they make a V. I am alternating either side, but I don't want them necessarily to be like parallel the same distance I'm gonna make this leaf a little bigger because I want to add some diversity in there. I don't want them to be exactly the same distance apart. I also don't want the shape, all of them to be like, exactly pointing out. And exactly that that shape, um, so that, like, if I had, if they're all of the same angle, I want them to be slightly angled differently. And so maybe this one, I'm gonna have pointing out just a little bit more like that. And there's also noticed I'm leaving that kind of space right there. That's totally normal. Leaving spaces like that just makes the stock of leaves look more like it's really this lemon leaf one I chose specifically first, because it's basically just the basic leave shape that we talked about. Um, it's good practice to look at the leaf, uh, toe look at the movements that you're familiar with and that you're comfortable with and see how they can fit in with whatever thing in nature that you are trying to replicate. That's generally just how you paint nature products anyway, um, but if that's not a concept that really clicked with me, or came very naturally to me. And so it's very important to me as I make thes classes that I make it really obvious that , hey, you know the tools to make all of these things. It's actually not that hard to make a leaf look like it looks in real life. Um, we just have to break it down in a way that makes sense. So that's hopefully what we're doing here. I'm just about done wrapping up notice how some of my leaves overlap. Some of them don't make this one a little bigger, I think and have it overlapped that one a lot. And then this one, I'm gonna have jutting up a little bit more and make it smaller. That and I'm going to do one more on each side, and that's that. I'm gonna call it good. There you go. There are our lemon leaves. So, um, again, very basic structure of belief. It's essentially just what we learned in our prior class all about the basic leaf. But this actually has a name, so I would practice. Please practice lemon leaves to your heart's content. And then when you feel rights, move on. Let's head to the next video 7. Myrtle Leaves: next up, we have myrtle leaves. So murder leaves are I have pulled off this picture up here on Pinterest. And as you can see, as you can tell from the size of this branch, murder leaves are a lot smaller than any of the other leaves that we've done. Honestly, probably about ah third of size. But it looks like the basic shape of these Marta leaves. Sorry for the fuzzy picture. The basic shape of these murder leaves is about the same as a basic leaf that we did weaken . Do it. It's It's pretty symmetrical, actually, of thes two crescent strokes with the point of the end. But there are a lot smaller and they come in like little clusters on this branch. So I think this that the murder leaf branch will be pretty fun to paint. And these are fun leaves to add at the end. When you're finishing a bouquet and need to fill in some of these little spaces, they look similar to we're gonna have us just a short section on what I like to call filler leaves of just kind of, um bow tannic ALS shapes, little shapes that look like leaves or something that would be in a bouquet to feel in some space. And that's, I think, what murder leaves generally are good for when forming bouquets. Although don't quote me on that. I am not a florist, so I could be wrong, but because it also looked like those murder leaves were darker. So I'm going to use the number six brush because they're kind of smaller. And then I'm going to use this hooker's green again. And if you have brown when we've paint our stem, it looked like it was on a brown branch, so you can use Brown to paint that. But just for forming these leaves, I'm going to use this hooker's green that I have over here and knowing that they're smaller . I I am. First, I'm going to demonstrate or more time. The basic shape of the leaf that I think we're going for it has kind of a smaller stem, so it's going to start right here and come to a point, and I looked a little more symmetrical and full, and so I think that's the basic shape of a murder leaf that we're going for, and because they're smaller I'm gonna paint these again, but give you a nice side angle shot. Okay, let's try this again. Ah, forming this the small myrtle leaf. Been hopefully this closer up angle well will help as you are painting along with me. So I am gonna paint the stem using very little pressure. And I only want a little bit of stem right here as I'm painting these pretty symmetrical crescent strokes on either side. So I'm starting on one side and coming up to a point and then leaving a little bit of space between the stem and the leave to account for that vein. And that is my murder leaf. And one thing to note for these leaves because they're so small, there isn't a whole lot of bending. There isn't a whole lot of twisting of these leaves. And so even this little bent leave might be I want to say too much, but this is about as curved as you'd want to make thes murder leaves. I would probably even practice. I know that I said earlier to make them straight. I mean to not make your leave straight, but for these tinier leaves, thes murder leaves I think practicing them straight without having much of a curve is probably going to be to your benefit. To get them a little more accurate like that, do it one more time, and then we will go back to our fuller angle just to practice painting the stock. Okay, so I want it straight and a little more full and even on both sides just like that. And then what I'm doing now is I'm just pushing the boat. The large amounts of paint that I have put on here. Um, because I picked up a lot of pigment with this number six brush. Okay, so it looks like this is the basic structure of myrtle leaves. And now the next step is to put them together on a branch in small clusters, and I'm going to go back to full size, full, full size view mode First to do that before we start doing her practice branch. I'm just gonna pull up this example picture again, and let's just dio say, like one of these that has two little clusters. So I'm just gonna paint this branch right here, and I'm going to paint these two little clusters that are separated on the branch to showcase what Myrtle is supposed to look like. So I'm going to use some of some burnt umber that I have my pilot here. But if you don't have any brown on him, that's okay. You can still use green. Um and I'm going to make the branch a little bit bendy. But remember, the leaves aren't going to be as bendy as I normally make leaves just because there are a lot smaller. So there's my branch, and I'm probably gonna do a cluster of 5 to 7 in each one. I'm gonna put one here, and I'm gonna put one here and I'm gonna make sure let's pull up this reference photo again . There they don't thes two closers Don't look exactly the same. It looks like this cluster is a little bit tighter, whereas this one kind of branches off a little bit more. So that's the basic format that I'm going to use when I paint mine. So let's pull up some of this pigment on my brush and we'll get started. So here's one more to leave that, and you don't always have to have that little white space in the middle representing the vein. That's it's OK if sometimes it's not there if you just get the full view of the leaf instead. Okay, so some of these leaves we only got, like, a side view. So I'm just gonna do, like, a little side view of that leaf because the side view of belief is just showing us a sliver of it. Basically, Maybe I'm gonna do another side of you want just up here and I'm gonna paint. I think seven of these leaves in this little cluster. So right now, I have five sons gonna do two more, and some of them can overlap. Like over here. I'm going to make this leaf kind of overlap that smaller one on the same for this one right here. I'm gonna have them overlap, just so it looks a little more realistic. And maybe I'm just gonna paint. I was going to seven, but on second thought, I'm going to do a couple more, so I have nine. So I have nine here, and I think I'm going to do one more like right here. That's kind of overlapping this leaf like that there. That's kind of a cool texture there and then just one war that's going straight up off the branch like that. Okay, that's one cluster. It looks a little different from the other one, but that's okay. That's one cluster. And now I'm going to do one that goes a little more diagonally a little bit further down on the branch. So I'm gonna start on. The way to do that is by having too little stems to show how these leaves our jutting out from each other. So I'm making sure to have them be basically symmetrical, some of them starting from the branch, some of them starting from their own stem and then making my way down and doing a side view one. It would be another side view on right here and then having them. Some of them go this way to show this diversity that we're going for. And I'm not turn my paper because I want to start from the stem. But I also want the leaf to go in the other direction like that. These are all very small leaves, as you can see. And then I'm gonna have another one going down like that. But making sure ends in a point because those murder leaves and in a point and maybe just one more right here. All right, there's my murder leaves. Let's see how we did. Not too shabby, not too shabby. So basically, to sum up murder leaves, we are looking at the actual leaf of a murder. Leaf looks very similar to the basic leaf shape that we practiced in the in that first basically shaped tutorial there just a lot smaller. And because there are a lot smaller, they're not quite as bendy. And so the shape of the leaves are a little more symmetrical, then bigger leaves would be because they can't move around as much. And so that's what we're focusing on and knowing that they come in little clumps like thes , as opposed to being wild and crazy everywhere on the branch. So practice your Marta leaves practice painting with a smaller brush. If even if a size six is a little too big than you could move down to a size four or even smaller if you want size zero might be able to do, you'd probably be able to do a lot of pressure by using a size zero brush. But Sy six is about as big as I would go for these murder leaves. All right, practice these and then let's move on to the next leaf. 8. Lamb’s Ear Leaves: Welcome back. Next in our lineup of watercolor leaves that go well in a floral bouquet, we have lamb's ear leaves. Lamb's ear leaves I high poll of a picture on Pinterest like I did for the last set of leaves. And just so you can see what a bunch of these leaves look like And so it looks like these leaves are pretty sin like average to small size leaves, but they have a little bit of a rounded end, so they're not a big circle. That leaves aren't a big circle, which means the crescent stroke probably will be able to work for the most part. But then remember how we practice kind of flicking or turning our hands while we're painting that to create around it. Edge that it looks like that technique is going to be perfect for these lamb's ear leaves. So let's This is another, more blurry picture of lamb's ear leaves, and on then I also pulled up one more. Um, these land. This stock of lamb's ear leaves is a slightly gray or color like more of a great green color. And so this is It may be a good time for us to switch up our color of watercolor that we're using. Where, instead of using like Hooker's green, I think I am going to use this Davies gray color. So to demonstrate how to form the leaves, I'm going to use a more brighter green. And then when we when we paint our stock of leaves on the side, then I'm going to switch over to this Davies gray that more closely imitates this kind of gree green of the lamb's ear leaves. Okay, so let's get started again. We're going to paint these leaves so that they're kind of a normal skinny leaf shape, but with a little bit of around it end. Okay, let's do it. So I am going to this time I'm going to use my number six synthetic sable brush by Princeton. And like I said to demonstrate first, I'm going to use this hooker screen, so we're going to start with the stem just the very thin stem like that. And then I'm going to form Crescent strokes one on one side and then one on the other. But for the other side, instead of coming to a point, I'm going to just round out the leaf just like that, so that the edge of the leaf looks rounded. Still kind of like a tip. So, like it comes to a little bit of a tip, but it's more rounded than before, so that's one way to form the's. Lamb's ear leaves by doing those double crescent stroke. And let's do that one more time. And then there's another way that we practiced in the brushstrokes section, where we kind of form it all in one stroke. So I'm gonna try that after I do just one more one more relief. So informing the stem with the tip of my brush and then I'm doing a crescent stroke on one side. And then I'm doing a crescent stroke on the other side, leaving just a little bit of space. Remember, leaving just a little bit of space from the stem Teoh kind of mimic. Let the white space mimic that vein that I'm not actually gonna paint and then just turning my brush so that the stroke comes up rounded and you can either leave this white vein in here. If you ever have some extra white space, feel free to leave it about some texture or you could just painted in after you've already lifted. And that looks like a pretty good lamb's ear to me. So now let's try making that Lambs Ugh Relief. Just with one stroke. So I'm gonna do the stem, and this time I'm going to turn my brush and come back all in one stroke. It's a little trickier, and you might have to go back. If you try to do in one stroke, you might have to go back to make the rounded end just a little bit less of a full circle. Because if we look at these lambs, ears leaves again, some of them do have just like a little bit of a point. It's not quite like if you do these curved ones than these curved ones look a little bit more around it. But if we do them more so they're straight. It tapers a little bit at the end right here. The rounded edge still tapers like other leaves Dio, so that's good to know where if we do more of like a tapered look like that, that's going to be accurate for those leaves. But we could also if we want a leaf that's more bending down, like being more pulled down by gravity than we would maybe paint it more like this. Have it be a little bit whiter oven angle and let's see how accurate that looks to this. Leave right here. Looks pretty good as faras loose representation xgo So whenever I like to look at these pictures, whenever I'm painting riel things in nature just because I mean sometimes it can be intimidating because you look at those pictures and think I'm never going to be able to paint that. But actually what we're looking for instead of, like, super, um, detailed instructions that we're never going to be able to achieve because we're not a camera, we're just looking for basic shapes and, um, taking away, like all of the little details, all of the color. I'm just looking at the outline of this leaf right here and doing my best to mimic that outline with my paintbrush and have that suffice for when I'm painting loose florals. So, for example, if I were to paint this like one of these folded leaves over here, then I'm not paying attention to the shading These these are loose florals, and so I'm not going to go back in and make them look super realistic. That's not what this class is about. Um, I'm just looking at the shape and how I could move my brush to mimic that shape. So let's, let's say this leaf right here. It's a little bendy, and I think I can make my brush do that. So if I start with the stem and I move my brush so it twists just a little bit here and there. And then comes Teoh a little bit of a rounded point. We still want the point to be rounded, then fill in the spots where maybe I went little crazy. That basically looks like the shape of this twisted leaf right here. And when we put all of these leaves together, it's that your mind is going to trick you into thinking that it does look like a twisted leaf. And and so I really love loose florals because you don't have Teoh worry so much about all of the shading details, and but how am I going to make it look exactly right? If you want to paint realistic florals, then that's what you would go for. But this class is all about loose florals. And so the shape and the white space are really the most important things that we're focusing on. So knowing that now let's paint the stock. Let just like a bunch of these lamb's ear leaves and I'm just gonna paint one of them. But I'm gonna paint them all in different shapes. And I'm going to use this Davies gray to kind of mimic that gray green picture that we talked about that we pulled up on Pinterest before. So I'm gonna show you what this great what Davies great looks like. It's a lot more textured, and it's a lot lighter. So that's why I did this hooker's green first. But it's this really cool gray color that actually a lot of leaves and bouquets tend to look like when we look for really unique colored leaves. So I'm going to use this Davies gray to paint a stock with maybe like 7 to 10 leaves of thes lamb's ear leaves. So first I'm going to do this stem. I don't always like to go up and down. Sometimes I like to notice when I have done these stems over here. I like to do it at a little bit of an angle just because I think that makes it a little more realistic. So I'm painting the stem at an angle and let's pull up my picture one more time. My reference photo. So it looks like the leaves are kind of pointing in all different directions. So I'm just gonna pretend like I'm painting one of these stocks and I'm gonna have some leaves that are that are flipped down some leaves that I can see all of them all the way. And, um, so they're overlapping a little. And so, knowing that I'm just gonna go ahead and paint some of these random leaves knowing that my guidance is the leaves will go everywhere, basically. So I'm gonna start with a leaf up here that's pointing down, getting a little more paint on here so you can see a little better and then filling in the spots that the paint didn't quite catch. Okay, so there's one lambs. Ugh, relief. That has the basic shape of belief. But it's just a little rounded at the end. And then I'm going to do a few small ones up here using the classic crescent stroke rounded edge that we used before for the first tries because I noticed in the reference picture there were some smaller ones sticking up at the top. And so that's what I'm trying to mimic right there, and the important thing with leaves and bouquets, I think what makes them especially the kind of trending bouquets in the last five years, what makes them so beautiful on cool is how wild and crazy they are. And so making your stocks of leaves, making your little branches of leaves not quite so uniform is really going to be key again , which is why loose leaves are so fun because it takes away all of the pressure of having to be perfect. So I'm just going to have fun with this and not be not worry so much about being perfect. One of the best ways I have found to paint loose florals is to just like once you get the, um, technique that you like down that basically mimics whatever kind of plant or botanical that you are trying to paint. Instead of focusing like once you practice and drill so that your hand gets used to the movement. You just It's so important to just let loose and just go, as opposed to trying so hard to make the leaves look exactly the way that you want them to . Because by letting loose and letting go, you're actually making them more realistic, making them look more natural. So I'm even gonna have some of these leaves overlapping on the stock because I noticed that some of them were doing that, having my little rounded or pointed edge right here. Maybe over here I'll do warm. That's kind of twisting and bendy like this guy we did, but making sure to give him that too slight, rounded edge and a little twist. And it's okay to have some of the leaves overlap because they are in the painting. And so that's what I'm doing right here. Sometimes it's nicer to let the leaves dry before you overlap them, But other times it looks kind of cool when you don't. So that's what I am doing right now and then I'm This is the whole process. I'm just going down the line, and honestly, I am thinking about three basic leaf shapes in my head, like this basic lamb's ear leaf that could be in any different direction. This kind of thinner, folded leaf where I'm only looking at the profile and then, um, a leaf that's a little whiter and goes down more like that, like this guy in different widths, different shapes. And that's how I'm going to finish that. I'm gonna paint just a few more, and then we're gonna move on to the next the next leaf section, because I don't want to spend too much time in each video just painting these in real time because that is valuable time that you can spend doing it yourself. But I also find sometimes it's helpful to watch um, instructors paint a few more leaves before you feel ready to do it yourself, Ellie said. So I if I have felt when I have been learning new techniques. So that's what I'm basing all of my call of me instincts off of doing a little one, maybe another bendy one that instead goes like down or sideways like that, and I always start from the stem. If you notice I never start from the tip of the leaf and that's true. We I talked about that when I talked about basically structure in that video. But just to reiterate for every leaf that I dio, I never start from the tip. I always start from this dumb unless like unless very specific examples, like if the leaves are laws smaller, but we will get to those later. So I'm gonna do one more here, and then I'm gonna be done with this little stock making sure it has around its edge because those lambs leave here. Lambs in the leaves have that rounded edge. Okay, there you go. That is the tutorial for lamb's ear leaves their really cool out of some cool texture. Two bouquets. And now you have them in your leaf bouquet arsenal. So without further ado, practice this to your heart's content and then let's steam on ahead. 9. Eucalyptus Leaves, Part 1: next up, we have an all time favorite of a lot of people. Thes air really popular lately. Eucalyptus leaves now eucalyptus leaves. If you know anything about desert foliage, they come in lots of different shapes, actually, but the two ah main eucalyptus leaves I'm going to focus on both Have this round this, uh, rounded leaf shape. So the first kind that we're gonna do two of them true blue and silver dollar. The 1st 1 is true blue eucalyptus. And these leaves thes eucalyptus leaves are just ah little bit more sturdy than silver dollar Leave silver dollar ones look a little bit more flat, like they're ones that look like they would flap Maurin the wind. Um, I don't know if that makes sense, but they also come in different kinds of Bunches. So these true blue eucalyptus leaves are often in this, like one stock right here, and just shut out on either side either. And so you're looking at it from a flat view or this round view, and it looks like some of them end in just a slight point at the end. Some of them are a little bit more rounded. Um And so where we can have a lot of fun with diversity. With these true blue eucalyptus leaves, these are silver dollar eucalyptus leaves and as you can see, they're a little They're definitely more rounded than true blue and the stocks are a little bit more crazy. It's not quite so symmetrical. So we're going to Silver Dollar in after we dio true blue. So first, I mean this the basic structure of both of them are the same just with some slight differences. So with true blue, Uhm, I'm going to use my number 10 brush and I'm going to use this sap green that I have to demonstrate first of all but with eucalyptus leaves, I would I would also use this more sage color which is called Terra Verde and all demonstrate that in this tutorial as well. First I'm going to use this sub green, so to form true blue eucalyptus leaves Um, we're going to practice that circle circular motion Ah, that we practiced in the brush strokes section, So I'm going to start at the bottom and then basically I'm forming a circle that kind of tapers at the end. So it comes to. It's not quite a full circle. It's just a little bit of a point right here and that I'm filling in. Whatever part needs to be filled in that my brush didn't catch. So that's Ah, very loose representation of this true blue eucalyptus leaves that we're trying to paint here. Some of them have that little point to the end. Some of them are slightly more rounded or tapered at the end, and I'll show you what I mean by that. So I'm doing this circular circular shape, and some of the true blue leaves have just a slight point. The slight taper, like right there or more at the top and so, in a way, almost looks like a more expanded lemon leaf. Um, but it's definitely more circular, and some of them ending this point. Some of them are a little bit more circular, Um, so it's good to have that diversity. I would also practice that side view we talked about where you're just looking at the profile and you conform those leaves by doing that kind of crescent stroke with the rounded end that we practiced with the lamb's ear and in our brushstrokes If you do that, that's going to show. Ah, eucalyptus Lee, if let's show you a eucalyptus leave kind of at its side. Or you could also do a little bit more at an angle like that, still in the basic crescent stroke and just curving the ends and have it cross over the stem like we see right here. So those are some of the different leave forms for these true butte. He's true blue eucalyptus leaves. And so, knowing that I'm going to take my number six brush now and just do like a smaller representation of a stock of this true blue eucalyptus leaf just pulling out some paint here because I want to show you what this terror very take color looks like it's on a different palette, then my other pilots. So it is this color right here, and just like Davies Gray, it's a little more textured, and so I have toe. Once it's dry. I have got a little bit more water in order to pull off the pigment, but this terra verde looks like this nice, cool stage color, and so I'm going to use this color to paint my eucalyptus leaves So first I'm going to paint. It looks like this true illegal eucalyptus leaf is also one of those stocks. That's pretty straight. For the most part, it doesn't do a whole lot of bending. Um, and so knowing that I'm just gonna mimic that when I paint the stock. So I'm gonna paint a stock that's going basically straight up and down. And now I'm going to do this circular motion to paint just a bunch of leaves on either side of this stock like that and some of them I'll leave a little pointed. Some of them I won't. I'll leave a little more around it. They don't have to. Exactly. Circular. You can have a little bit of like a squarish circular shape. I think that the silver dollar ones are definitely look more rounded. Um, some of them were even smaller like that. You have some smaller ones that overlap some that go across the stem like this, like we saw. So like it's if you're thinking about a perspective wise, it's almost like they're kind of jutting out at you. You can only see the edge of it, and then some that already angle like that with a rounded edge where I started the stem and then I just round out that leaf and come back to the stem. And a lot of these techniques were going to use for the silver dollar as well. The silver dollar are just slightly more rounded and have a little different composition on their stock. But also important to note, for the most part is that on these true blue eucalyptus leaves, a lot of them there aren't tons of leaves on the actual stock. And for the most part, they're going in these twos like this want on either side. Now, I'm just gonna do another little bendy one like that, maybe two of these bendy ones together like this on and another round. And then I'm gonna have this round one overlap a little bit, and I'm just kind of going crazy. And if some of my leaves are a little bit wonky or look kind of rough looking, that's also OK, I'm not gonna do to all the way down just because I think looking at things that are exactly symmetrical and nature makes me uncomfortable. So I'm gonna have this one skip. But for the most part should be This true blue eucalyptus leaf stock should mostly be to going all the way down. Okay, so there's my true blue eucalyptus and now let's do the silver dollar head on to the next video. 10. Eucalyptus Leaves, Part 2: All right. So we have painted this true blue eucalyptus leaf, and now we're going to learn how to paint thes silver dollar eucalyptus leaves, which are very similar to true blue in shape. Notice how thes silver dollar eucalyptus leaves are also very round in shape. Some of them are slightly tapered at the end, but for the most part they're pretty round in shape. Some of them even looks like it looks like they taper in on the middle. So they come to a little form, kind of like a heart kind of shape in the middle. Um, but for the most part, they're very similar to true blue. It's just when they're on the leaves when they're on the stock, the stock is a little less sturdy than true blue, and the leaves are a little more flappy and probably a little smaller. It looks like so we are going to take that into account. First, I'm going to practice the shape a little bit, noticing the distinctions between true blue and silver dollar. And then I'm going to paint one of these stocks, and it looks like there are less of the leaves that are like at an angle and more of them that are just a bunch of circles overlapping each other. So I'm going to keep that in mind. When I paint thes silver dollar ones, I'm going to use my number six brush again, and I'm gonna keep using this Terra Verde color because I think it looks really cool. So the silver dollar for the silver Dollar eucalyptus leaves. It's very similar to true Blue, where we can do that circular shape and then come to a little bit of a point and fill in the middle that way. And there were a lot more leaves that did look like this more rounded shape on the Silver Dollar stock than on the true blue. So that's good to know. But another variation on the silver dollar stock I saw Waas, um, with a little bit the leaves kind of meeting in the center, almost to form a heart. And so I'm going to keep that in mind and maybe due to crescent strokes, two pretty wide crescent strokes, that kind of meat in the middle like that, and then fill in the parts that I didn't quite get, and there were some of those silver dollar leaves that looked like that looked like This is well, that had just this little meet in the middle right there at the end of the leaf. Very subtle, very slight. Um, and then we also got a few side angle shots. Those ones will probably be very similar to the true blue, where we're just gonna do, like a thin line, mimicking the shape of the site angle like that. But for the most part, when they overlapped each other, we could see them flat like a circle like this. So I'm going Teoh paint. Now I'm going to paint just a little a little branch of this of these silver dollar ones down here and try to mimic this reference picture a little bit. So instead of this whole thing, I'm just going to focus on, like, this little section right here. So it looks like it has four leaves, kind of overlapping each other with a few, um, that are flailing in the wind down here. So that's what I'm going Teoh paint right now. So first, I'm just going Teoh do my circular motion. And because some of them overlap instead of doing all of these at once. I'm going to move on down below and then come back to the top to see if he's dribbled dry a little bit before I paint the rest of the top leaves. So there's one right here, and then this one, I'm gonna have jutting out a little bit more. And then the leaves that I layer on top are the ones or that overlap these leaves just a little bit are the ones that I'm going to have that more of a heart shaped, heart shaped top to it. But first off, I'm gonna paint one more right here, there and then I'm gonna come back and paint to more leaves on top of that in just a second . And but for now, I'm going further down, and this one, I am gonna have that heart shaped. So there's one crescent stroke and there's the other. And then I'm just filling in the parts that I didn't get with that stroke, leaving just that little bit of a heart shaped indent in the leaf right there. And I'm gonna have another leaf sticking out like this cause that's kind of what silver dollar eucalyptus leaves so quick to me like they're just sticking out of the branch. And then I'm gonna go back, appear understood to more of these heart shaped ones that are all layered on top of each other, like a circle, all these circles layered on top of each other. I mean, so in this one, I'm just gonna have layered, like over here. And that is my silver dollar eucalyptus branch. Now, according to the reference photo, oftentimes silver dollar eucalyptus branches have a lot of these little branches all put together, and so they're kind of fanned out as opposed to true blue. It's usually just this, like one stock, lots of different stocks that are particular. So that's important to note. To sum up you these eucalyptus leaves, silver dollar eucalyptus leaves have this. Some of them have this little in dent, their little more rounded they are. When you look at them head on. Ah, lot more of them are like flat. You can see the flatten side of them versus eucalyptus leaves. Some of them have this little point and, um, Taper at the end, and they don't have that little indent, and they just sit on stocks like this and kind of jut out on are a little bit more sturdy or unless less prone to bending on the leaf on this on the stem. So, um, practice these eucalyptus leaves. There are a lot of fun toe. Add two bouquets, and when you are ready, let's move on to the next video. 11. Fern Leaves, Part 1: next up, we are going to talk about firm leaves. Fern leaves are super fun, and they can be pretty simple, so we're going to talk about two specific kinds. First we have this. The Boston Fern, which is looks like this long, kind of curvy stem, with two little like long, skinny leaves jutting out on either side. And then we're going talk about the leather firm, which looks more like it's a very similar structure. But the leaves are a little more detailed on either side. So first, let's dive into the Boston fern. Based on what we've already learned, we just need to have the stem. And then, um, probably we wouldn't need to do to Crescent Strokes. Um, if we did just very small ones, but just starting from the stem and it looks like the leaf start very small and then get bigger as you go down. So let's try practicing that first. I'm gonna try. I'm going to use my number six brush for this, and I'm going to use some of this hooker's green again. So it looks like if the stamens right here, then to form those leaves, I'm gonna start from the stem and just kind of jut out like this. And it's It's tapered at the end, not quite into, like, a very sharp point, but it is definitely tapered at the end, and then I would do that on either side. And this is one example one of the only examples, actually, where I might even start not from the stem, but from outside the stem at a point and then use pressure to meet at the stem like that and the point of the fern leaf. So this is just kind of practice the leaves, and again, I'll show you maybe a little bit bigger over here. If we start away from the stem and then start with very little pressure and then use more pressure to make the leaf a little bit more thick so that it's the thickest when it meets the stem like that, that's the basic structure and shape of these leaves that we're gonna put on either side. And the most important thing to make them look like firms is to make thes leaves small at the top and then gradually get bigger at the bottom as we're putting them on either side. of the stem. So let's practice that right here. So I'm gonna draw stem and just he's very thin leaves on either side, getting a little bigger as I go along. And they don't all have to be completely straight. So, like you can put him out a little bit of an angle. Having a little inconsistency, as we've talked about just makes things in nature look more like they belong in nature. Um, but where they're not all crazy, either. Ah, fern leaves are definitely slightly more consistent in their shape, then other leaves. And so this is what we're doing all the way down sometimes starting from the edge of the leave and going toward the stem and sometimes starting at the stem and then going out like that. Um, one thing you can do, I think I'm making mine a little bit, Not as I think they can believe. Could be a little closer. So I'm just gonna fill in a little bit more over here, and I'm not really paying too much attention. Honestly, too, the shape of the leaf. I'm just making sure that they're all slightly tapered and prettiest straight like that. And then as we go down, the leaves get a little bit shorter, but not nearly a short as up here. So just like slightly, that's probably about a short as I would make them. And that is a Boston fern. And so having little tendrils having little sprigs of these Boston ferns can look really cool in your bouquets. And they're probably some of the easiest firms to create just because there's not tons of detail on the leaves that are jutting out from the stem. It's just the stem and then lines going across the stem in this basically consistent but also kind of jagged and diverse and diverse shape. So that is the Boston Fern. And next up we're going to try the leather firm, which is just a little more detail, so stay tuned. 12. Fern Leaves, Part 2: welcome to part two of our fern leaf tutorial. So in the last video, we painted the more simple Boston Fern, And now we're going to look at the slightly more complicated leather firm. So as we can see the leather fern has the leaves that are jutting out are still pretty consistent in parallel. But instead of being more straight, thes leaves have, like, almost like many micro leaves on them, so they're much more jagged, and so they they're probably gonna take it. Um, we're gonna add just a little bit more texture to these leaves. But one thing to note is that there's like one leaf that starts at the top like that, and then they start small at an angle and continue at an angle, getting gradually bigger and bigger and bigger. So this one looks honestly. This kind of looks like a little pine tree like or painting a little pine tree. And that can be a fun way to think about this leather fern. So I'm going to pick up my number six brush and to in order to show you the detail first, I'm going to paint an example of one of those little leaves from this view, and then I'm going to show you just a little side view so that you can catch the detail that I'm trying to get with the's leather fern leaves. So I again, this is like a whole on a branch. These leaves are tiny, and so we're putting a lot of these smaller leaves together. But I'm gonna show you, um, in larger size first. So the fertile honestly, the leather fern leaf. Also, in addition to being like a Christmas tree, it's kind of like a fractal, meaning the leaf is made up of smaller leaves. And so if we think about this leather fern leaf being made up of, like a lot of many ferns, I think that could be a fun way to paint this. And so I'm just This is like one leaf of this leather fern that I'm painting. And so I'm, um, going from side to side and making these, um, little details of this leather fern leaf in the same shape that it would be on the lease. And so this is like if we pull up this example again, we're basically putting a lot of these leaves onto one branch. And it's if you look at the shape and structure of this leaf. This is like a smaller version of the larger leather fern leaf leather fern branch Leave as a whole. And so we're making the leather fern is ah, Fern made up of a lot of different for a lot of smaller ferns put together in a pattern. So, um, I'm going Teoh, demonstrate this leaf for you again. You can do it. I did a little bit messy and a little bit more loose in this version, but you can try if you want to make it even more detailed. I mean, you can do that if you want and go a little bit slower and make all of the details look exactly the way that you want to. But I kind of like this messier loose look, so I'm going to show you this messy loose look again, a side angle just so you can get that closer closer shot as we're practicing. Okay, so let's try practicing this leather fern leaf. Now, this remember, this is just like one of the leaves that's going to make up the larger leaf. Let's try practicing that one more time with this closer angle so you can get a better look . So I am first painting the stem. I'm using my number six brush in painting the stem, and then I'm remembering that I'm starting small and gradually getting bigger and bigger as I go down and I want it. I like this kind of loose, more abstract shape better than spending all of the time, making it look exactly like it's supposed to. But you should do you. I would definitely recommend pulling up your own reference photo if mine is not sufficient . Just looking. Just look up leather fern. Um, but without further ado, let's let's do this thing. So I'm starting very thin, jetting up and remembering that all of my leaves are mostly pointing upward. This is very reminiscent of my spear tree technique. If you've ever taken my loose pine's class, Um, and I know that as I'm getting up, I'm getting bigger and bigger as I go down, and I want it to be a triangle like that at the end, and then this is what joins the larger stem. So it's like if this is a larger stem than this is the leaf that goes with that leather firm. Okay, so now I'm going Teoh, paint the whole leather fern, and I'm gonna go back to full bird's eye view for that in just a second. Okay, To finish up our firm tutorial, let's paint this leather fern. Now, remember, the leather fern basically is made up of a lot of different firms ferns in the same structure, so it's pretty similar to the structure of the Boston Fern. But instead of these straight leaves, we're gonna be painting thes jagged leaves that look like little ferns. So I'm going to paint my stock right here, my stem, and I am going to remember that these these are loose florals and just kind of dot my way through. I think one good method of doing all these together is maybe painting these terms first to bigger and bigger, and then to go back after we've painted the stems and fill in the shape of the little mini ferns that we're painting to make up this larger leather fern. And then, if I've put too much space in between, we can address that after we've already painted these little firms. So I know that they get bigger as they go down. And mostly these littler firms are at an angle. So I'm gonna stop right there. And now I'm going to just paint in the texture of these firms in a very loose style like that. But I still want them to be basically in a triangle shape so smaller at the top. Biggest as we get to the Sem just like that. And yeah, I think that the method of painting the stems first is a really good way to maintain the shape of the fern. It could also be a fun way to paint a tree. As I mentioned before, this kind of reminds me of, Ah, some of the styles of my lose pine trees that I talked about in that class. But we're using this loose shaped to form firms and ferns, especially if you're like having the the bigger stocks like this. You would probably only have one or two of these leaves in your bouquet. They're more like an accent piece, I think. But you never know. You could find him. Okay, that's almost all made of firms. And you have to paint a lot of thes, So I'm starting skinny and giving bigger as I go down. And for the most part, it looks like I'm starting from the outside from, um from the side of the stem and painting inward, similar to my spear tree technique in my loose points class. Last one. Twist my paper a little bit just to get a better angle and that it is my firm belief. So let's see how we did again lose representation. I'm not. I didn't take the time to make the firms, like, exactly detailed, But you can if that's what you would prefer. Um, but I think that mostly Oh, I forgot this little thing up here, So let's just do that The fern leaves. I also have a leaf shaped like this at the top. That's a little bit bent there like that. And I think that shaping it, giving it that little bit of shape at the end. That little curve at the end is what helps make it look less like a tree and more like a leaf. Um, so, yeah, that looks pretty good, I think for a loose representation of this fern leaf and you can decide if you want Teoh paint it a little differently than I did, but for the most part it looks like the basic shape. It looks like it has some of these rough details, and it looks like a loose fern leaf that would look really cool in a bouquet. So there you go. That wraps up our tutorial on fern leaves and it wraps up. Our tutorials are Siris of tutorials on specifically named leaves. Last but not least, before we start on the bouquet we are going to or the wreath, we're going to do a brief video next on what I like to call filler leaves. So without further ado, practice these fern leaves to your heart's content and then let's move on ahead. 13. Filler Leaves: So before we start painting our final project, I just want to talk about one last kind of leaf that I often use when I'm painting, reads or bouquets, and I like to call them filler leaves because, honestly, I'm sure some of these shapes have names, or I'm sure that they might not even be shapes of leaves in real life at all. But I am also sure that when I'm paint wreaths, sometimes I need Teoh fill in some space in order to really make a wreath or a bouquet look just very full. And so it's nice toe have smaller examples of leaves to fill in those spaces, and, um, they don't have to be too complicated there. Most of them are pretty simple. I'm just going to show you a few different kinds of thes filler kind of botanical shapes that I used to fill in space, filling some space. So obviously the most simple form is to just kind of paint like you're painting grass like you're painting sprigs of grass in that's kind of jutting out off the bouquet or of the Reese, and you can make them kind of thin like that sometimes if you, um if you use your paintbrush to start and then like, lift off, then it can give them a nice taper at the end. That gives, like, a natural, um, just a more natural look to them when I'm painting grass or little tendrils sprigs of grass coming out of coming out of a wreath or coming out of a bouquet. I sometimes also like toe have them cross over each other like this. Um, I don't always have, like, huge clumps like that, but if I do like three or 45 then all just kind of paint this grass toe look like that So you can do these where you store you start painting on the page and then just like really in a quick motion lift off your brush. I'm physically I'm painting. And then I'm lifting my paintbrush off of the paper so that I get that nice natural taper that's this is one of the easiest pillar leaves. Teoh include, um so you can do it stand like that or you can just kind of paint thes lines jutting out sometimes, um, leaves of grass are thick like that. And my once suggestion to you is to make sure they're not just, like, straight coming out of the wreath or the UK that they have just a little bit of curve to them to get to make them look more natural. So you can either do this liftoff version or paint these straight lines just with a little bit of a curve. Either way, as long as they're green, they're going to look like they belong somehow. So that is one method that I like to use. Another method for filler leaves that I like to use is very similar where all paint Just a line, Ah, thin line like the grass and then I'll kind of make it like a fern leaf. Um, not quite like a fern leaves, but just like paint these little rounded leaves on either side. Usually my stock isn't quite so thick, so usually I would do that if I had, like, a thinner blade of grass, and then just paint these little tiny round leaves on either side, kind of like a mini myrtle Leave, I guess. Like I talked about Marta leaves could be filler leaves, but I just do like little sprigs like this Or maybe laurel leaves would be more accurate. Um, name for what? These air called again. I'm not a florist. I don't know. I usually is as filler leaves. Like I told you to fill in some space with a different texture, if ever I feel like I need to fill in space. And the last trick that I used to fill in space is especially when I'm painting, reads I like to paint vines almost like, um, they're not quite vines. But imagine if you just had, like, a branch of leaves that was twisting around all the other ones. And so sometimes after everything is all painted will go around, and I will create a leaves that goes around the reef. Like in, um, I way be kind of pattern like this, sometimes making it so you can see the actual pattern and sometimes going underneath whatever is in front of it like that and then coming back to show that it's going underneath. And then occasionally I'll do these little curly cues that come out of this, um, little stem ivy, whatever tendril of Phil early, if you want to call it, um, I'll just have these little curly cues, and some of them will have little leaves on them. Sometimes I'll put little leaves, just kind of sporadically. But I have found that especially in wreaths, having some random places where a little bit of the leaf is kind of jumping out at you like that. Uh, it can add just some fun texture. And it can, um, put a little bit of whimsy, if you will, into your wreath if you don't already have it. So, um, you can come up with your own filler leaves. Honestly, it's not too hard. You just use the knowledge that you have about leaves and botanicals in general, meaning you know that filler leaves probably should be small. You know that they should have some kind of movement toe look like their natural, and that they're probably most, for the most part, pretty thin, Um, to come up with your own shapes that you can use to fill in space. And the nice thing about loose florals again is that even if it seems like they're coming out of nowhere, that's OK because we're not painting very realistic floral wreaths here, right? We're not paying, were not spending hours and hours trying to get the shading just right or trying to get all of the details just right. We are just trying to form basic shapes that look like leaves. And with all of the leaves that we have painted in this class and all of the different strokes we've practiced in this class, um, you have many of the tools that you would need to create your own filler leaves. But if you'd rather stick with mine or you don't think Yuri's need filler leaves, that's OK to, um, either way, practice some of these filler leaves slash practice. Anything else that you think you might need before we head to our final project and then gather your materials, including your nice paper. If you choose to use nice paper for this project and let's get started in the next video 14. Final Project: Layer One: Okay, welcome to Layer one of our final project. First things first, let's talk about the basic structure of what we're going to painting. We're going to paint what I like to call a crescent wreath, which means it's a wreath. But instead of being a complete circle, it's kind of gonna be in a loose crescent shape. So we're like, in a start, um, close to the top up here and then end the wreath a little bit to the side right here, and then leave part of it open just for the fun of it. And we're not gonna have it be like a complete circle like a like a not complete circle a, um, perfect circle. But we are going to use I like these plastic pilots for these this bigger nine by 12 paper . This is legion paper cold press. Um, because they're really good size. So I'm just gonna use this as a general guide to put down some pencil lines, and I'm OK if it's a little shaky, because it's not going to be exactly perfect. And that's okay. We just want thes general pencil lines to show us basically where the leaves are. supposed to go so that we don't accidentally veer off into the page. And next, we're gonna talk about the order of the leaves and then start painting. So in general, when we paint wreaths, um, no matter what you have on the reef, you should go from big to small. Start with the biggest leaves that you're going to paint because they take up the most space and then build the smaller leaves around the big leaves. So knowing that I have listed all the leaves that we learned to paint today and I'm going to use all of them in this wreath, you don't have Teoh. But because we learned a lot of different leaves, you can pick and choose which ones you really want. But in general, the most important thing is that we're going from big to small. So I'm going to start off with, like, maybe one or two leather fern leaves. And then I'm gonna do, like, one stock of lemon leaves and then do one or two Boston ferns. Some little stocks of silver dollar eucalyptus, uh, that are scattered a little bit more. Maybe one stock of true blue, one of lamb's ear and then some myrtle and filler leaves to finish off. So let's get started. I'm going in this video. I'm going to paint the bigger leaves, which are the leather firm and the lemon leaf, and then we'll see where we get from there if we need to move on to the next video. So I am going Teoh to paint the leather fern. I'm going to use my number six brush just because it takes I don't want tons of water, and I know that the number 10 cause I'm off brush that we used a synthetic sable. Neptune. Siri's puts on a lot of water, so that's my reasoning for that, Um, when you're painting reads, it's also important to note which direction which general direction you want. Delete the leaves to go on with, Crescent reads. You can have them all go in the same general direction, or you can have them go like have a stop of middle point and have some of them going one direction and another. The other one's going another direction where you can see where they've all come together. I'm gonna have them all kind of going in this same downward direction where some of the maybe some of the leaves might jump up work. But for the most part, the bigger leaves I'm going to be having going pointing this direction. So starting with the leather fern done, I am going. Teoh, if I want my leather firm to be jutting out this way, I'm going to start my stem and kind of angle it like that. I don't want to paint this upside down, though, so I'm going to flip my paper and start painting. So if you need to pull out your reference leaves, that is totally fine. Here is my fern leaf reference leaf. And so I know that I'm going to start the leather fern is the one that's made up of lots of smaller firms, starting with one at the top. So I'm just gonna paint that for the top and then start from the sides maintaining this angle, this curve of my stem that I've created and not really caring so much if I get everything exactly perfect parallel to each other because this isn't nature and it is okay if it doesn't look exactly right and normally I would have this will be joining out even farther . But because we're coming near to the edge of the paper, I am taking some artistic liberty and making that leave little smaller. So now I'm gonna paint in the's little fern leaves just like that, and you see why we start with the bigger leaves? Because if I had tried to paint this like around the smaller if we had put smaller leaves on the paper already, and I am trying to paint this around, them will be pretty hard as we're talking about this. Another thing to remember is that when we're painting these, it's okay that some of the leaves. In fact, we want some of the leaves to dry before we paint other leaves so that we can add layers and depth to this wreath because with so many leaves, it will probably take a little bit. It's not a quick 10 minute project, Um, at least the way that I'm doing it. You probably could make it a quick 10 minute project if you wanted to. But, um, waiting for some of the leaves, the layers of leaves to dry before adding layers on top of it, adds some really cool depth that we will see as you continue with these final project videos. So I'm getting bigger and bigger and adjusting as I go along, in case I'm not quite big enough. That is totally okay to and almost done, just making sure to add this curvature to the leaves. Four. I think I might do one more of these, um, leather ferns, and then I'm gonna paint in some lemon leaves. Here we go. Okay, So there's one thing of my leather fern, and now I think I'm going to do another one. That's kind of judging this way like that for maybe have it. Yeah, be like that. I'm just kind of eyeballing it. A lot of people sketch first and compose where they want the leaves to go first. And if that's what you want to do, you should There is Honestly, I probably should do that more, but I I like the, um I guess surprise or challenge of trying to compose something on the fly. It's just kind of something that I enjoy. So, um, that's why do it this way, and I'm gonna have this one be a little bit more curved. That way, and I'm going to start with the leave on top that has the point and then drawing my guidelines, paying attention to the curvature of the stem. Before I get started on, I'm gonna turn my paper again and do the same thing the I did before, and you notice that I'm going quickly. You don't have to go as quickly as me, but I in order to not pay too much attention to the form. And maybe that's not the best of me amounting a little thing here just because I don't think I added enough. These leaves. Um, I'm just a person who believes that these loose florals should really be loose and don't have to look exactly perfect order to be beautiful. And I'm also every very recovering perfectionists. And so, in order to really embrace that, sometimes I have to make myself go faster. Then I normally would just so I don't give in to the temptation to spend. It's on temptation. It's okay to spend more time. But if since I'm embracing this kind of loose style, that's really the style that I want, so that's what I'm going for, and I can do that best by telling myself to not pay too much attention, not to care so much because gonna look cool either way. And if I wanted to paint realistic florals, I could. But that's not what I'm going for for this particular style. So don't mind these. Don't mind me self talking to myself. Uhm, I'm going to turn the paper just a little bit so I can get a little bit better angle. Um, I like to do this kind of self talk turning my classes because sometimes I feel like we all suffer from the same. Let me not suffer necessarily, but have some of the same issues and a lot of the same insecurities. And so I like to talk through, um, what I go through so that you know, if you go through the same thing, you are not alone. And watercolor painting honestly has been one of the best things for my tendency toward perfectionism. Because in order, I've really learned how much beauty there is in letting go. And in recognizing that, Okay, my version might not look exactly right, or it might not look exactly, um, like this virgin. I was going for But that doesn't mean it's not beautiful. And that doesn't mean I can't be proud of it. And and then I found that it turns out other people thought my stuff was beautiful too. And so, um, why not keep painting this way, huh? So that's my little spiel on perfectionism as we painted our fern leaves. And now I'm gonna paint a few sprigs of our lemon leaves before we move on to our next layer. So let's pull out our women leave reference. In case you don't remember, here is the lemon leaf. Ah, it's basically the basic shape of belief in pretty big form. So let's do, like maybe one of those right here, and I think I might I'm trying to think if I want to do 12 or three, I think I might just do like a small one and then a big one down over here. So I have put that where I can see it. I'm using this hooker's green, and I'm gonna start my lemon leave stock pretty close to where my it's kind of going toe overlap my fern leaf a little bit. I'm gonna have it mostly be a little bit straight like that. And then I'm just going to paint the basic shape of the leaf that I know. Remember that the lemon leaves. We're a little bit more full than this basic shape of a leaf. So you might have to go in and fill in some space or you don't have to. We don't want them to all be in exactly the same angle. Some of them can be slightly different. Gonna have one kind of coming out like this. I have this one be bigger. We want them to be different sizes, slightly different angles, mostly the base. Same basic shape, but just so that we have diversity. We want to make sure to diversify our leaves because that's what makes them look so beautiful. I think another important thing is that we don't go over really in depth here. But when you're painting with watercolors, water control is always something that is important. And with the leaves, it's tricky because you don't wanna have too much paint. But you also need enough waters that the paint goes where you want it to go. Um and that is I feel like a battle. I am constantly fighting between having too much water, too little water. We're too much paint into little paint. So I would keep that in mind. And, um, just pay attention to what your preferences are. So maybe here's where I'm gonna do another little overlap. I'm gonna have a big leaf. If I'm gonna overlap with this fern, I want to make sure the have some dark pigment, which means I'm using more pigment to water ratio than normal. Just like that. Okay, not bad. Yeah, this is bigger than I initially anticipated. So I think the ones over here, I'm gonna make smaller, but, um, that looks pretty good. So that's one lemon leaf sprig. And then I'm gonna dio just like instead of one stock, I think I'm gonna dio one that branches off. So I'm gonna turn my wreath. I know that I still want my leaves to go this way. I'm gonna start this right here and dio to that branch off over here and just gonna keep painting leaves the way that I know how I love painting. I think I mentioned this before, but if I didn't let me say it name, let me say it now I have not always loved leaves. In fact, leaves have been traditionally notoriously hard for me. Um and so I think the only way that I knew how to get better painting leaves was to just paint so many of them and to paint them over and over and over again and to practice, looking at the different kind of leaves and to analyse constantly why my leaves looked different from other people's leaves I liked better and how I can make my leaves look better. And even if I could look at leaves and figure out why mine didn't look exactly the way that I wanted, it wasn't always easy. Teoh make my brush move in a way that I was comfortable and happy with. So, um, having a leaf warm up as part of your routine, just like painting leaves whenever you do. Watercolor florals, I think, is a good way. If you also struggle with leaves. That's the best way that I know how to get better is to force yourself to practice. Um, so as we're getting close to the edge of my paper, I don't want my leaves to jut out to the edge of my paper. So I am painting some of these leaves a little smaller. But I'm also making sure to put them at an angle at different angles so that it's not quite so symmetrical. And some of them can be overlapping each other like that. And I can see a little bit of pencil on this leaf. So I'm just gonna dark in it with more pigment and I'm going Teoh, do one last little lemon. Leave Sprig here as kind of an end to our crescent wreath when we get there. Mostly because I think I've mentioned before. I love odd numbers. So I wanted to end. Since I already did two of these fern leaves. I wanted to have an odd number of the's sprigs of lemon leaves that we're doing, which might make me weird, but whatevs. Okay, there you go. So those air are fern leaves and our lemon leaves. And now in the next video, we're going to move on to our what's next on our list. Boston fern and eucalyptus. So that'll be Superfund to navigate. How to put those leaves in our wreath? Susan 15. Final Project: Layer Two: Okay, so we're back with layer two, and I'm going Teoh ad on our list of leaves here that we've practiced Boston fern and the two eucalyptus leaves. So I think because we hardly have to firms I like to work in odd numbers. I'm just gonna do one sprig of Boston fern, and I'm going to do that right here. I'm gonna have it be like starting a little bit below this lemon leaf and kind of judging to be next to the last lemon leaf. And so if we pull out our fern again, we know that our Boston fern is a little bit more simple than our leather firm. It just has these lines that go across starting small and getting bigger. And so that is what I'm going to paint. And I'm just gonna do one of these for now. At the end, I may reevaluate, but for now, I'm just gonna do one. Now, we do want our leaves to taper a little at the end, and so you can start in the middle of this in the stem, or you can start on the edge, or you could do a combination of both. Honestly, whichever feels good for you. And the Boston Fern is a little less consistent than the leather fern is. So that's important to note in terms off, um, the size of the leaf. Generally it follows the shape like a triangle, and then it gets a little bit thinner toward the bottom, not as soon as it is in the top, but you can have a little bit more fun with the size of this one. And so we know that it's underneath this leaf. So I'm just kind of estimating where I think the leave would go, and I I'm going to call that good. Um, I might add another leather fern later on just because I think they had some cool shape and texture to our to our wreath. But for now, I'm going to move on to our eucalyptus, so pulling out our eucalyptus reference sheet, we have Silver Dollar and True Blue. And so this is a fun part of our wreath where I'm going. Teoh, switch up the colors now where I'm going to use that terror. Very take color that we used to practice eucalyptus, which is a more of a sage color and So first I'm going to dio silver. Um, the silver dollar eucalyptus. I think I'm going to do one silver dollar and to true blue. So for silver dollar, remember, they're a little more flat, and the stem has a little more curve to it. Although the leaves don't really so using this terra verde color, I'm going to put my eucalyptus, my silver dollar eucalyptus. Um I think kind of interweaving with the firm right here and then have some of them jutting out this way and some of them joining out this way. So I'm gonna have my stem kind of go like that and then like that, and then I'm just going to add Ah, whole bunch of thes around shapes and some of them bigger and others, some of them silver dollar. Also remember, had that heart shaped going on. So I'm making sure to do that with some of hm, But I'm not paying that much attention because the's air supposed to be loose flowers, you know, have one kind of jutting out this way. Like maybe one of these stones is over here, because I was the other thing about silver dollars. A lot of them. We're in Bunches as opposed to, like, a straight line that the true blue eucalyptus leaves were in and some of them can overlap This fern Here's another heart shaped using these two crescent strokes, and I'm gonna have a few little flat ones over here that I'm again, just kind of eyeballing exactly where I think the's shape should go. Knowing that as long as I get the general shape right, people are going to know what kind of flower it ISS. So that is something I often do when I'm painting like this. And then at the end is when I also add more of a specific kind of flower that I don't think we really touched on enough. So for now, I think so. I'm going toe, have this rapped back into the wreath like that so we'll just add a few more leaves on here . But I think that looks pretty good for our silver dollar. And now I'm gonna do are true blue, which is basically it's a more straighter stock and I'm gonna have one be going through this firm right here, and some of our silver dollar ones also have a little point. Um, also, for the most part, the silver dollar. I'm not. So what are true? Blue? Um, go in order of to like this. So I'm gonna have one joining out like that. Some little ones like that. And you call that stock one of the top right there. Call that good. And I'm going to do another one. Gonna turn my Reese again. I'm gonna do another one just to fill in some space right here. So we're dressed, looking at part of it and so, k, some of these leaves overlap. I'm just painting flowers on top of each other. Basically. Okay, so I'm gonna call that good for our eucalyptus leaves, and that is going to be our second layer. So let's move on to the third layer in the next layer. We're going to dio lamb, zier, myrtle and filler leaves. So, basically, we're gonna finish this wreath in the next video. See, soon 16. Final Project: Layer Three: okay, Before we start, I lied. We're not gonna do filler leaves in this video. We're gonna do those very last in the next video. But in this one, we're going to do lamb, zier and murder leave. So lamb's ear is the last of our, like, normal size looking leaves. And then murder leaves are our smallest ones That look kind of a lot like these lemon leaves, but they are a lot smaller. So before I start, though, I'm just gonna take my eraser And anywhere I see pencil lines, I'm gonna see if I can erase them. If I've already painted on top, they might be tricky to get them off, which is okay, because they're not super noticeable. One way to avoid that is using the kneaded eraser. Um, just to make the pencil lines a lot fainter. But I didn't do that this time around, so I'm gonna go through with my eraser. I've already dried most of these leads already dry, so I'm just gonna because we have the basic shape of this Crescent Reef racing the remainder of these lines. So let's get going with our lamb's ear leaves now are lamb's ear leaves. We liked to use this. Davies Gray. Remember, let's pull out the pulling. I'm pulling out the reference sheet here. So here is our reference you for the lambs, your leaves. And we liked having this Davies gray to use for those. And so lamb's ear leaves are the basic shape of leaves, except they're a little bit, um, rounded at the end. So let's go ahead and make some of those some of those, um, stocks over here. So I think that I'm gonna have one that starts a little bit more over here and overlaps the fern a little bit and have that be right there. That's one stock of lamb's ear lamb's ear leaves that I'm gonna dio and then maybe have that also branch off. Not all of them have to be straight stocks, remember? And then I'm gonna have another one see again why we do this in layers of largest. A small ah lot of these leaves. It's hard to find spots to put them. If you haven't, um, already placed, it doesn't in spots. I'm gonna put another one right here that branches off like that. And then our 3rd 1 I'm just gonna do a little sprig right here. Just a little one and movie it. Maybe this one will branch off also like that over here. Okay, So I have laid some general outlines for my lambs, your leaves, and now I'm going to paint them. So I know it's in this direction. And so I'm just moving my paper so it's a little bit easier for me to form these leaves. So I'm just going to start at the top and work my way down using this crescent stroke that is rounded at the end and remembering that for lamb's ear leaves, they can be in different of those like bendy and twisty shapes. And we mostly we want them to not be exactly the same like all these. Pretty much so I'm gonna have something might go back here up to the top and just a little bit. But I'm gonna have some of these overlapping on the's lemon leaves. Some of them are little, can have one that's like a little curvy right here, and in general, it's good if you're going to do overlapping. It's good to do lightly er's first. But in our case, because we focused more on size. It's OK if you can still see leaves underneath. Um, your second layer, it's still gonna look pretty cool. So the most important thing with Lamb's ear is that they have that little rounded end, right? Right. When was painting right on this firm leaf and almost done with this sprig? I like to paint lots of different shapes with this one, as we talked about before. Just gonna have warm jutting out this way, I think. Uh huh. Okay, so there's one sprig of lamb, Elise. Now, let's turn again to do this one lamb's ear When leave, uh, this one, I'm gonna have be the basic shape. I'm not deciding beforehand what shape I wanted to be in. I'm just kind of going with the flow. And I like to have these blocks of watercolor paper specifically so I can turn my paper. Um, although if you don't have a block, that's okay. And you're just like taping down your paper is you, uh you know can still create beautiful things, but this is I like to have the versatility of the block. And so that's why I recommend having paper like this and OK, so there's another little sprig of lambs Lee of Lamb's ear and then last one right here, leaving a little bit whiter vein in that one, making this one a little bit more attorney, Bendy, This one's gonna overlap over here because I love those overlapping leaves. I think that they right a lot of cool, um, texture to the UK. Okay. And that's my last one. So next, basically, we have murder leaves and filler leaves on myrtle leaves can be filler leaves. So that's good to, um, So I'm going to put in, I think maybe two sprigs of murder leaves. And then I'm just gonna put in some blades of grass on this one because this wreath is already pretty full. Two or three sprigs of murder lease. Oh, I forgot that murder leaves. We also like that. Have that brown stem. So that can add some nice color diversity as well with that brown stem. So I'm going Teoh, maybe have the brown stem go underneath these eucalyptus leaves. But over the top of this lemon leaf for those murder leaves, that's one. And then maybe, like right down the center of there, that's too. And then I think up here I'm gonna put some murder leaves that start underneath this firm that go on top of this lemon leaf again. That's three. So I've added the brown stems in various places, and now I'm just going to do the Bunches of leaves. Myrtle leaves remember where the basic shape of leaves just smaller and so adding them we want them, especially if they're on top of dark. Please, already, we want them to be pretty dark. It's OK if the brown bleeds in. Not a big deal, but they weren't necessarily all the way down the branch. Remember, they were in, like, little clumps, so that's important to remember. And because they're so small, we're not gonna pay to close attention exactly to them being exactly the right shape. We really just want them to add some texture. Some diversity to are painting here. So there is one, and then I'm going to add another right here. Going on top of these eucalyptus leaves is add some cool contrast in colors. I think not too much water, because too much water makes it harder to paint the actual leaves. Remember, I'm just doing some clumps. And this time I'm gonna do a little clump that kind of branches off of here so that it's kind of this cascading later look that we did in our reference photo and then maybe just two of their. And then for our final sprig of myrtle leaves, I think three of here at the top, and then another cascading one that goes over the's leaves at the bottom. Here you go. So there are our murder leaves and we are so close to finishing this wreath. It is ridiculous. So let's move on to the next video and finish up with some filler leaves. See, then. 17. Final Project: Layer Four: So it looks like we already mostly have a pretty full wreath. I am just going to add some blades of grass here and there. In order Teoh fill in some space so it looks like I might need some grass right here to fill in some space and to fill in any areas that might look a little not as full as we want them to. Um, you don't have to always add filler leaves. It is not a necessity, but I like it sometimes Teoh texture, especially when I am doing a bouquet that has lots of different florals like this one. And they can just go right on top just like this. And yeah, that's just what I'm doing. Um, you don't want to add to many because sometimes it might like ruin the effect of the different kind of leaves that we have here. But I think that about sums it up for me. That's filler leaves. You can if you have ah, wreath that is a little bit less full than you had. Probably spent a little bit more time adding the filler leaves, but from for our part because I used all of the different leaves that we had here, which is about seven. I think, um, we have a pretty full wreath, and it looks pretty awesome. Like this big crescent jungle. This would be a perfect place to put a quote if you do calligraphy or to do a little line drawing. Um, thes crescent reads air. Really nice. A nice way to frame any kind of something to show it off. Or you could just show it off like this. So thank you for taking my class. And I hope you enjoy this final project and learning about these leaves. I had a really fun time learning about them too, and then teaching them to you. And most important, I hope that you feel good about these techniques and using these loose watercolor styles to create very beautiful things. Even if you're not kidding, as detailed as maybe like portrait artists are, I think that it's amazing what you can accomplish using just a few easy tricks. Teoh mimic a lot of what these leaves look like in real life. So I if you love what you painted, I would please encourage you to post it in the project gallery. I'm going to talk about this in the recap is well, but I would encourage you to post in the project gallery. And if you post it to Instagram, please feel free to attack me. My handle is this writing desk. Um but once again, thank you for joining me. Okay. Had a great time. 18. Recap: thank you so much for joining me today for this deep dive into loose watercolor leaves. I know we went over a lot of material, and so if you made it through the whole class, give yourself a pat on the back and I hope that you came up with an end result that you're really proud of. This is the watercolor wreath I came up with a the end. That's kind of crescent Reef. It can also be this direction. Um, I really love the diversity and all of the different textures happening with this wreath. And I particularly and I'm so excited that we got to go over all these different styles of leaves for you today so that you can incorporate them in your paintings of bouquets and also so that you can take the techniques that we practiced and the, um, learn how to paint leaves on your own and learn and tweak them so that they can match your style. Because ultimately, that's really what I'm hoping for is that you can watch these classes and become the artists that you really want to be. So thanks again for joining me. If you love the class. One of the best things that you can do to support me as a teacher is toe lever of you. I would love to hear any feedback and what you thought went well with the class. And the more reviews that this class gets, the more chances students on skill share will see it. So I would really appreciate it if you have a second. But if you don't all good, no worries. Another thing that you can do is post your final project to the project gallery, particularly if you have any questions or requests for feedback on this specific project. I try to answer all of those as fast as possible, and I would love to see your final project in the gallery. Last but not least, you can post your project to Instagram. My handle is this writing desk, so please tag me so that I can give you some love. And I also do features of all of my skill shark classes a couple times a month. So if you post me, there's if you tag me when you post your final project, there's a very good chance that will be featured in my Instagram stories. So once again, thank you so much for joining me. And if you enjoyed this class, I have ah, Lewis florals class that goes over some florals that you might that you might enjoy. I also have a lot of other classes on wilderness subjects and some various other things. So I would love to see you in any of those. But if not, thanks again for joining me and have a great day.