Watercolor Daisy : Explore an interesting background technique | Wilhelmina Bodine | Skillshare

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Watercolor Daisy : Explore an interesting background technique

teacher avatar Wilhelmina Bodine, Give yourself the gift of watercolor!

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

Watch this class and thousands more

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

Lessons in This Class

6 Lessons (45m)
    • 1. Introduction

      1:07
    • 2. Colors and Supplies

      1:22
    • 3. Drawing Daisies and Painting the Background

      8:10
    • 4. Sketching and Painting a Daisy

      19:21
    • 5. Adding Details

      13:10
    • 6. Final Touches

      1:45
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About This Class

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This course will have you playing with plastic wrap to create an interesting background for a single daisy.  

You will be guided through the entire process and end up with a lovely painting that you will want to mat, frame

and cherish!  Please join me.

Meet Your Teacher

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Wilhelmina Bodine

Give yourself the gift of watercolor!

Teacher

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Transcripts

1. Introduction: Welcome to my studio. I love to take you inside and show you what way? Afternoon. Thank you for joining me on the sunny afternoon in New Hampshire. It's actually began to look like springtime and actually feel like springtime, which is even more exciting. I thought today would be a great day to assured lesson on a daisy focusing on just one daisy show you a wonderful technique as maybe a little bit different for you on the background and from there to a freestyle A fund ese with pedals going every which way. And just to relax painting the one behind me appear is when I have done based on the technique, I'll show you on this a single one. So I invite you to join me. I hope you do. I appreciate your support in the past, and I asked always, I look forward to see how you have done with the lesson. Thank you so much weight 2. Colors and Supplies: today. I hope you join me for painting a single daisy. Here is a sample of what will be doing today. And for that, we will need your favorite watercolor paper. Make sure it's £140. Um, I use Strathmore or Windsor Newton. Whatever you like to use its fine. The colors were using our cadmium yellow or a slightly brighter yellow if you have it. I used a little bit of bumble bee yellow today, a yellow Cambo ish, which is like a deep golden rod color the sap green or an olive green ultra marine blue quad, the cadmium orange. And I used a touch of red with my cabin orange in there, burnt number or a wrong number and some of your mind a nice purple if you choose to put that NGO greens. My number 10 round brush was the one I used most often and forgetting him between the pedals and number four or a number two round brush work very well, and all I needed at the end wasa toothpick to do the little stippling off the little texture around the center. You have your paints, you have your water, your paper towel and you should be such a go as well as your nice eraser. And I hope you join me on this journey. Thank you. 3. Drawing Daisies and Painting the Background: So we're starting this again. Lovely photo of my twin sisters garden, and it shows you will Five days. He's three in the foreground with two in the back. We're only gonna focus on one. Um, and I just want to point out how it's not a perfect circle in the center, Okay? Because the leaves the pedals come in a different places and give you that fun from look of pedals going every which way. So hopefully I can uses his inspiration and try to draw some. The first thing we're going to Dio is simply draw. I think I'm gonna go for that last one there. And I wanna come kind of large today because we are. We are just focusing in on that one. So this is where that fun pedal comes in and bends back a little bit. I'm not even going to worry about. I worry about the whole flower, but I want to give some random spaces here where the pedals may end up coming late around. Okay. And that's all we have to do. We're starting this out. Just have your space there, and then we're gonna use our nice round number 10 brush, which I really like because our goal now is to wet the whole background and, um, go little green here. And don't worry about the pedals not being there. This technique gives you a fun background without having to have too much to it later on, if you happen to like how it came out, so make it nice and gooey and web because it will take a little while for this moisture to pull into your watercolor paper. This is £140 which is a nice quality. And we're wedding all the way around quite juice, because I know what needs some time to pull in. And I don't want it to dry on me before I use Saran wrap. And the Saran wrap gives you a really cool texture. I'm gonna show you a picture of one or a few that I've done. This is what the saran wrap does for you. Give you these little lines and you're free to choose to work with those lines. If you want to it one could become a stem. One could become, um or nothing. And but it just gives you a fund background without having to do anything else after your leaves. So this is what we're after. Okay, So I'm making sure that if the war becomes dull looking that it means it's pulling any. You want to make sure you keep it wet enough. So again, don't draw any pedals at all. You're gonna have that freedom by leaving these whites here. All right. My sunlight is going to come from Mm, the right. I think I'm gonna have my come from the right. So I'm going to start with some softer yellows. I have some yellow gambo, Shawn Cabey and yellow on my palette, and I'm gonna go to a few greens. Sap green. It's what I usually use her olive green. And what we're already kind of stab established a shadow side by dropping in some darker ultra marine blues. There's some are calling my brush. That's awesome. You gently start bringing that up. Now, Saran Wrap will always lighten what you have. So all watercolor lightens. I think it's about 20%. I heard one of the artists on skill share share with us so 20% less and saran wrap on top of that takes out color. So we have we don't. Don't be afraid of putting too much color in, but you hate to have, um you hate to have to little coloring your background. Your daisy is gonna become or the most important, of course, with the pedals. But you still want to be able to see some of the wonderful designs that your saran wrap will give. All right, so let's keep putting some color in here. We'll bring somewhere. Blew up a little bit on this side. Okay? And again, your hands you wanted your best tools. Don't be afraid to pick up your work. Move it around so the water can work its magic. If it doesn't move fast enough, put your finger on where it's dry. Give it somewhere water. This is my alter marine again. We'll pick it up, move it around. It's the most awesome colors going. Look for the balance in your color. If it's just true to suddenly change, you know, bring some of that color somewhere else, too. The dark seems to be a little less dark just dark in there. So I'm gonna bring some color up in here too. Ideally, you don't touch too much of your background. color except to add your pedals, your greenery for your daisies. So hopefully we're like what we're doing. I think it's screaming for some purple here. Someone to throw some purple in. There you go. That's nice. I just want to make sure that that blood is in all the way. I have a lot of space around my days, You know, obviously, I'm gonna cropped that out. If I decided this would be what I want, Um, that would be a frame herbal. Piece them. I have lots of freedom to trim and cut Trump. All right, that's blended fairly well. All right. So you definitely know where the lights coming from. Where your darkness coming from? You might want to clean your table at this point. Just if your work is drives with Saran wrap doesn't take too too long to drive. Now you take a piece of saran wrap a little bit larger of the same size and little bit larger is good than your actual artwork. And we're going to places some top. Does that a drop? Nice and loose. All right. Lovely breeze today coming in through my window here in the studios. That's really cool and then gently kind of pushed together, making some nooks and crannies and designs. This paper's doing a nice job. I think different papers, two different ways. You don't have to really do it inside the daisy area, and we're gonna just let that signal studio lights and let that dry. And we're going to come back and maybe about 1/2 a Knauer, and we're gonna look at this lift off the the Saran wrap and all these little bubbles and lines you see should become part of your artwork. See you soon. 4. Sketching and Painting a Daisy: Okay, We have just peeled off the layer of plastic and this the saran wrap, and this is what we're left with. It's much lighter than what I did before, which always happens, but it gives us a wonderful background of soft background to work with. So at this point, if we look at our reference photo, we can look, just start drawing some daisy panels and you may use all the space you may not. I like to skip around and see where it can find one, and it's perfectly fine to use some of the paint that was already there always skip around . Uh, so you don't stay in one place, only this one that's going to move off to the side and current a little bit. Maybe another one behind here. Um, Daisy leaves start at a narrow space where they come out of the center and they have a blunt end. They have a more flat, and they don't have a pointy end. If you do too many of them right next to each other, they get very pattern looking, and you turned not to be his natural looking as you do. If you skip around a little bit, and none of them are quite perfect next to each other. So feel free. This one could be behind this one a little bit There could be out again. Keeps skipping around until you like what you have the center of your days. He also is slightly raised up. So I want to put us a little bit of extra layer inside here to suggest a higher plane here in a little while, I'll show you real days. He just show you how that works so well, continue drawing are daisies in that center. It's a little higher up. I just wanted to show you this. Do you have that angles? Three. Like a little one of those little chocolate Candies. I forget the name, the little Candies. So we have to try to give the illusion later on around its centre. So I'm just gonna give myself it. Reminded that that's gonna be in here somehow. All right. We're gonna go back to our pedals and keep wrong those in. You might opt to take some of them out later on when we're doing our background and you might decide you want to put some extras in. So that's you have lots of freedom down the road to change this a little bit here and there . A short one here. It could be a longer one. Tough behind that one. You're starting to tell you a story. With what you're drawing here again, we're gonna try to keep our lions as lightest weekend. I will probably soften my pencil lines a little bit before I start. This gives you an idea of where are these RL white spaces left over from my saran wrap. But I'm going to I'm going to work with that anyway. Cover them up later. All we create our greens. Okay, so just for a moment, I want to look at the greens we have here. It's a nice sap green or an olive green, and daisy leaves even the chefs that Daisy's, They tend to have a little stronger pedal. A little darker green. Um, but if I look at the photograph of the shelves, the daisies, they're not that much. So she this one of the sunlight that's not that much different. So it's a little bit of him, an oval shape that goes slightly wider. And it has a little raggedy edge and that rang the edges. Very fun to create just with water. E start with my center. First wet it and decide that the light It's too, I think originally, why did I have my life? I think my lights would be in the upper right. So this is gonna be the shadow part. So when I paint this, I'm gonna leave some whites to suggest the highlight. Turn that. So we're kind of going there. Well, you can't see if I do that, so we'll leave it there and then we'll start with This is a bumble bee yellow. Any camping of yellow that you have. You know, bright yellow is totally fine. I'm using a number 10 round brush, which is good for larger spaces. Well, give us a little time to pull it. It's quite a bit of water in here. So he used thirsty brush method by lifting it off, putting it on your towel, or even simply give it some time to pull in. Okay, I want to give it some time to pull in, and I'll come back to it later, So let's create our green for our sap green leaves any time you play with green, you want to add some other colors, like an ultra marine blue, so you can have some leaves that are darker and we'll add more. Aqua is always a fun color to add. I had it on my supply list. Good. So, um okay, I'm going to switch to keep this brush for a while again. If you roll the brush on the plate, you'll get a nice fine point. So I'm going to wet this area here where I have those whites left from the saran wrap. Be careful not to touch the center right now because I don't really want that center breathing out. But I'm going to start softening what was left from the saran wrap and start lifting up that first coat of paint a little bit. Okay. Why don't you have the shape drawing? You can go ahead and pencil in with your sense. Draw with your your brush, draw in the shape of the leaf, take some of your green and just drop it where you wet your paper blue to it, if you like. And we're gonna pick up paper. The center is moving to struggling. That creep around a little bit to create beginning background. It's gonna go into that leaf that I drew. There it is. And that's a real soft beginning. Um, the beginning color. I'm still careful not to touch that center. Now, you don't have to do this. What? I'm wet. You can do it. Went on dry, if you like. I like to do my white on white because I like to get this kind of I like to draw this with my water rather than with my hand with a pencil. So I'm gonna skip around again, always skip around. This is the shadow side, so it could be a little bit more daring. And my colors also get some purple ready. And this is just the first wash. We're gonna have more washes than this. I want to show you how this pedal that this half blue actually starts to look kind of white ish. Or it may have a shadow, another pedal creating shadow over it when we add a dark background, little coloring, my brush. If I helped me see where I'm going with this pedal. So that's kind of all I do for Daisy Petal. Not sure what's happening there. So I need to tell you. I need to try. Not that painting part. They're a little bit. It's all right for your out in a minute. Sometimes. Just just start by bringing out the leaves a little bit. Pedals off here using leaves to bring out the petal shape again. You don't have to have leaf shapes everywhere. You may be perfectly happy having a soft green or I may over leave. I may overlap. Um, Leaf pedal in here later on. I like the softness right now, So we're just gonna leave that It's a lot of fun with these pedals. Start taking, shaping. You start seeing them pop out, and suddenly you have a very different painting that you started with. All right, I'm going to use a smaller brush later on in the center of my days. He has completely dried, so I'm gonna just kind of carefully just draw in between here. This is wet. What? On dry paper, I have an accurate outlining in the sons of the pedal. Once I get away from the pedal, I'm gonna take my water, my clean brush, and I'm just going to sketch the pedal that leaf. Sorry. And then I'll drop in some pain color again. Just skip around. It will all come together by the time you get around the whole painting. And this is just the first wash. You may love it with what you have. You may decide you want to add more layers and glazes, and that's totally fine. Now I see the vein working here in my background. I can decide to play with that. I have that become part of a leaf. I haven't found any yet. Right now that I want to work with. So I'm just gonna play with a few moving the paint a little bit. So doesn't just dry in one place, but already you've got a nice variety of colors going without letting them all b one color . You want carefully? You don't do that, but the sunlight will make the greens look different. The shadows will make the greens look different here. This is my one question. I had just a chip that in there for now. Okay, I'm gonna bring that outlining off the leave the pedals. For what? Little section in there. I think my center is pretty drying there, So I'm gonna actually take a much smaller brush. And I want outlined the pedals just a bit, So I really, really thes air overlapping someone. Leave those alone these air lovely little triangles, which helps separate the pedals. You certainly don't want to do them all at once, but it does sometimes help you. Just put a few in here and there. The shadow side could have some darker blue ones. Just watch your fingers that you're not smudging. A little bit of this is going up into the center of the daisy. That's okay. Begin with the blunt edge to the pedals. We don't want a pointy edge. It's really important. She could tell here. It's a nice curved kind of almost almost straight there at the edge. That's a fun look when you get that in there. All right, let's start a brand new one here. Not quite going to the center because I know it will bleed into the heart there. I want to clean my brush, and I'm gonna pull that head alive with some water. That leaf Now the centers kind of blood looking as you can tell, that's fine. If you need a break from doing a few off your leaves. It was a little dark for this light side, but that's okay. Because we all know that the painting dries lighter and what we start with, I like with Saran, wrapped it there. I don't have to do anything else to it. It just kind carries again. We wouldn't frame this the entire piece. She would probably come in nice right in around the daisy. So a lot of this is a little bit more than we need. Okay, Well, why? We met this rest for a little bit, and I'm gonna and some color to build up my center of my daisy. Someone goto a Naples yellow and at a little deeper value on the shadow side. I don't want it to go all the way around because I really wanted to kind of build that up. That center is going to be Hi. I look sometimes take my thirsty brush. It wasn't quite dry in the yellow, but that's OK. I like my colors mixing. And of course, you can always let gravity kind of help you pull it down a bit. You really want that darker yellow either. Gamboa Sure. The Naples to be down here. Whatever. Deep keeper. Golden rod yellow. You have worked fine. I'm watching the tips of my leaves at the same time. Also, that there's a lot to watch at once. You may prefer to just do the center's only of your daisy let totally dry and then work on your pills. That's up to you. I like to skip around because I get bored and I want to do something different. So sometimes that's nice to do. All right, we're gonna put some more again. Always turn your work around. I find the easier if your hand and pulled towards you. And you also don't get to stagnant in your painting. We know that that center still isn't quite right. I have time in second place to do this, that this is all done with water. And I watched the directions of my leaves. So they're not all going the same way they conserve the overlap. I might have to overlap them later. For now, I just kind of want to pop these out like this big space in here because sometimes in and daisies you do have a big gap with pedal blew away. My child picked it off. This one I haven't planned for. I don't think I will, because it's awfully long for the for the actual flower. So sometimes you see something and let you decide. No, I don't think that's gonna work or trying to put it in. And then you can change it if you don't want it. So really have outlining. If you can tell right now, carefully put in some blues here and there. I know this is my light side, but you don't want to just suddenly have to mark. The difference is gradual What you're doing again, I'm watching that a little bit. It's trying a little hard there while I have this here on what I make sure we'll pull some leaf structure out of it. Doesn't have to tell the whole story, but you do want to give some texture do life a little bit fun. Let's go to this corner up here. I'm gonna cool, right? What? I'm what I'm dry. Just help myself find out where you want to use to live. And then with the wet brush, I'm gonna make it look more natural. Pulling some leaf shapes. There is one that softened, so I can go over it again and give it a second. Please. Even though this days he had a lot of blue in the panel like these do it still carries as as a pedal of the daisy. And it's when we look whiter and whiter as we deepen the values around him. So it's really a fun, fun way to paint. Okay, I think we're gonna let this rest for a little while. So all these colors can kind of do their thing. And when this dries, we can come back to it. Um, before I totally show off the lens for a minute, I am going to put a little bit of GAM cabbie, um, orange because this is nicely. This is beginning to look dull, and I want to pull this in just on the bottom. I hope it doesn't spread too far up because I don't want to spread too far. So maybe take the excess water out of here if you brush. Don't worry of some of that orange boasted between the pedals a little bit. This there is a little bit of that nobly texture to the center off your daisy. Wanted to convey that later on. Okay, that's the first layer of that. Um, again, we'll just let this help a little bit by pulling it. I may deepen that later on, but at least it's in there. So I've got the soft yellow when I bring into the deeper yellow, the yellow golden rock color, and then I have a little bit of the orange, and I will probably want that to be a little deeper later on. Let's just leave it alone for a while and let it dry. 5. Adding Details: all right. It's had its beginning to pull in a little bit of slightly damp. You can tell that by putting your hand beneath your paper. If it's feels cold, then that means they're still moisture inside your paper. But it's certainly find to start your second or third plays. At this point, I've certainly brought out the pedals. I could be cleaner in a few places, but we'll do that as a second glaze at this one. I really want to start popping out some of these. These leave shapes here and there. Sometimes it helps to just throw them on your work and see where they fall on. Seo. That would be a fun, nice placement for it, and it certainly is always a good way to look at the color. So this time I probably won't make it wet either. There are more comfortable drawing them. What, did I just have water on it? But I don't want to lose this background any more than it already is. So let's start. Um, I have some going on in here. You can see that. So why don't I give this a little bit more definition or make it look like another one above that one, so it makes it look like there's multiple layers of leaves here, which is certainly what the photographs suggest. But there's a lot going on. There already helps a little bit Michael to find the pedal. Just attend. I am able to go up to the center now because it's dry enough. We gave a little resting time. Pull one off. Going this side. Try not to let just agreed to be the only green. I have a little blue. I'm adding a little yellow. This is this the sunny side wherever it needs a little touching up like here you can add some of those colors. This one wasn't quite defined. So just outlining with your yellow. So this is that space we have in between. So that's what we need A place to bring in some pedals don't leave. Excuse me? They don't have to all have to be totally defined. It can be soft and blurry. My first layer waas, and you might decide that's fine with you. And they want to keep him there and again I like to skip around, so I'm gonna go to the shadow side for a moment. Nothing happened in here, so we really need to fix this one the first time, so you never get them all. That's totally fine. It's good if you don't do them all because you want to see where you want to add or change things. The nice thing is when you start this wet on wet, if you did something that you really don't care for us faras your leave color, you can probably lift that totally off are almost down to workable space. It's the biggest reason I start with I'm wet. This could use a little something here. I look at my directions of which way my leaves We're going so I don't repeat them. Your dance tented What We want to go one way because you left or right handed. If that happens, changed the direction of your paper so you don't do more than a few strokes. One way why we bring some of this purple in here, since this is our shadow side. It's a lot of purple, but that's OK. Whenever you have a lot to absorb, just go back to your larger brush for a minute and stipulate our A little bit. It's a little blue to that. So it's not just that Purple E. I love that one up a bit. I love this aqua with Daisy. So they're in the same idea there. Well, a little bit more sap green to that. Don't be afraid to experiment with colors. You may want to use different ones than I recommend. That that's totally cool is totally fine. Why should I urge you to do that? Then it becomes uniquely year old painting. Let's pick it up for a moment. That's better. Run a lot of green there and not really in between the pedal. So we're gonna take some of this green up here. I'm gonna borrow it, and we're gonna bring in between to prop up these pedals better. That's really starts making this come alive. This is the fun part of the painting. You always borrow what you have up there. So the color is not just in one place, but its repeated in other places. A little bit in the purple. Certainly. Come in here. We're going towards the lighter side here, so I'm just a little blue to my green. Okay, nice. I get this will cry softer than than it is right now. So let it dry first. Before you decide whether you like it or not aware it's too strong color, I think it will be fine. It's also nice to leave some of your original first layers there. So take some water, maybe draw another pedal. But leave some of this green the way you have it. The first wash here. We want to come nice and clean between these to pop these by turning it. Also, you keep looking at it differently on do you make sure that the balance is good. You always know your life from your dark. The shape isn't right because this should have trying one here. So that's good. That's amazing. What a difference that makes me. You don't have that little triangle. Sometimes you forget to draw it all. That's all right. You put it in with your pain when you get there. I'd love to see some of your work where you're showing what you did with the vein. Work off the saran wrap. Wonderful. If you could incorporated in your drawing, I'm leaving some of the lighter stuff that stairs I really like the first layer shining through. All right, let's look at this for second. I'm really again. Leave it. Not much going on in here. So let's maybe give this a skydiver from undersea creature. He's sitting here, so I think it needs some definition here. Also. Look at your work in the mirror and see it in reverse with sometimes you see things that you didn't see right side up, kind of the same what when you turn it around, but the mirror is even a better tool teaching tool. I certainly will do that in a moment to look at it. Some houses stippling here and there. All right, that's what that be for a moment. Well, I had a little bit more orange to the bottom, Really? But that circle comes in for the center of your days, either some orange up in there, but I'm not going to do all that. But I like to have it. A little stippled effect. Kind of been here almost like a little dotted pinprick with the song pin, It starts suggesting that the texture, if you feel like having a little red to that where you had blends in with your orange. That gives it a lot of life. Lost spark. That's all it needs. And I want to bring back a little bit of my bumble bee yellow. That looks like a little hard shape. Highlight. I love it. I'm gonna leave it there, but I move those feet. It's a little bit more yellow on top to really to help us suggests this some might. All right, so we have some overlapping pills. My son is coming from the opera, right? So this pedal here would cast a shadow onto this one, and you can use an ultimate green. Or is this a civilian blue, which I really like? Also, I don't think it was on my list. So if you have it or softened down and alter Marine just laying in after you drop the water and making sure to touch that panel, that's overlapping. So wherever that happens, wherever shadow gets cast, you want to show that this one the light, it's coming from a peer. So this one will cast a little shadow up in here. Didn't want it first met. That's enough moisture in my brush where I could do that. I notice. Here my little triangle when? A little bit too far, so we can lift that off plenty of time. It is that and you're in there in the center of your pedals because sometimes they have these little lines that you see in there. I mean, that's how detailed you want to be. I like the looseness of this, but on the rather large pedal like this, you can't just drawn a tiny little couple reminds with your brush. Take the very tip of your brush with a very little bit of simile in blue in there. And then I would take my paper child, and I would left most of it off. But it does give a little texture to leave. So if you feel that you want money texture, um, by all means do that. 6. Final Touches: for our last step. We're going to add a little bit of checks sure to show that the center of a daisy isn't perfectly circular. But they're little nooks and crannies and help you suggest that you could see what a little bit of raw umber or a brown will do to that. This one doesn't have it. This one has it, and it makes a big difference. So I usually used to to think if you have a stylus brush or very, very small one. This make a nice mixture that a juice big will. You should be a little bit thicker that tooth people need to do. I try few on my board to blunt the edge a little bit. Are you on a straight up and down motion? You may have to reload a few times and six act them around. We'll just go with a straight line. If you want to show that unevenness in the in the daisy center, I tend to only do it on the shadow side. You could put it all the way around, but then I suggest you go to more of an orangey. Or maybe the gamble is yellow. Um, also very effective shadow calorie within. That is to take a little bit of ultra Marine. I'm gonna write to my palette for a minute where it's a little thicker and take a few alter marine dots to really help suggest that. And that's your basic Daisy. Thank you for joining me.