Watercolor Florals: Painting Magnolias | Victoria Diaz | Skillshare

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Watercolor Florals: Painting Magnolias

teacher avatar Victoria Diaz, Teaching Art

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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

11 Lessons (1h 45m)
    • 1. Introduction to the class

    • 2. Materials

    • 3. Initial Drawing

    • 4. Color Mixing

    • 5. Painting the first flower

    • 6. Painting the second flower Part I

    • 7. Painting the second flower Part II

    • 8. Flower buds

    • 9. Painting the branch

    • 10. Adding Details

    • 11. Thank you! and more info

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About This Class

Hi there! in this class, you'll learn how to paint soft delicate petals contrasting the harsh, rough looking branch on these wonderful flowers.

You'll learn to make soft and crisp strokes, washes, details, contrast and more to achieve a realistic looking illustration. 

This class is oriented to beginner and intermediate level as well. 

Meet Your Teacher

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Victoria Diaz

Teaching Art


Hi there, I'm Victoria, watercolor and pencil  artist and I want to teach you all I know art related. Techniques, Composition, Color and more technical stuff like how some papers are made, or were do pigments come from! I have a more realistic approach but I also go nuts from time to time and experiment with other styles.

I live in a region surrounded by nature, it's a bit chilly, but every time we have warmer weather I go outside to capture the beauty of what inspires me the most. And my classes will represent that. We'll illustrate plants, flowers, fruits, animals, we'll use watercolors and colored pencils for the most part.

I have a few classes already and I will be uploading more on a regular basis. 

If you are interested in drawing and painting a... See full profile

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1. Introduction to the class: Hi. My name is Victoria. Yes, I'm a watercolor offensive artist. I live in Southern Chile where I have my studio here. I teach. I take commissions and personal projects and also make my scripture passes in this class. We are going to paint a realistic watercolor magnolia. But we will also be using a little of oil pasta to add some detail. So you could say this is a mixed media wrote it. I will be you seeing the same reference picture assay used for a worship I did hear a couple of months ago. I saw I realized the students where we're really challenged. But by the end of the workshop, they were all really happy with your comes away. But this could be a nice idea for you to paint us. Well, I will walk you through the entire process That initial driving the first layers were called our A plane washes. We will be using weather. What technique? A dry brush technique. And finally we will out some details. In Austin, you can see my work on my instagram account between a TSR where I'm constantly posting on my current words. If they could be for a class project for Skip Class Project or for a commission, or even for personnel personal projects. And follow me on me own skin shirt so you can get notified. Assume that's a blow and your place. If you're up to it and will take this class, I'll see you in the next unit. 2. Materials: dessert. The supplies we're going to need for this project. We mean, what color paper is student? Great. It's called Press and it's very thick. £140 or 300 GSM. It has a bit of a texture, and these this is another option I use. I really like this paper is hot. Press, which means is a very smooth paper, doesn't have the texture that has the cold pressed. It's also £140 and this is 100% cotton. I prefer these because if I need to lift paint, I need to rob and get in there and work and work and work my paper it want deteriorate us the ones cotton this oneness would pope, and if you rub it too much, it can get damaged. The next thing we need is a reference picture. I have a printed version in much and photographic paper, and these are my brush. This is a round number eight. It holds a very nice point and a lot of water. You can use any round brush with a middle size like these, you won't need more than one. It's more than enough and this other brush. It's synthetic and it is very stiff, so it helps me to rob. If I want to live. Paint it is harder, so it'll be a faster for me to live paint, then, using this point very so soft eraser and graphite Ben. So I will be using a B pencil so you can see the lines Clearly. This is some well but still bento. It's school grade. You can use Heupel still, or maybe white the corner pencil, but this one paints much better, and we will use this to make some of the texture you can see in the brunch. If you're going to take down your paper, you will need a board and masking tape. I wanted down my paper because I wanted to get, and they wanted to buckle and work because they want to show you later in another class how to stretch a painting if it's already painting and if it's ready. But it got a little work and you need help stretching it down. And I will teach you how to do that. No clean water and our water colors. I'm showing you here the colors I will be using if you don't have any off off this one. Any of these you can substitute. Oh, are you gonna said you'll probably have all of this? If you need help choosing your colors, you can write me and I can help. So we have us a year load. It's so warm yellow I will be using with ultra marine blue to mix different kinds off green burnt sienna yellow Joker makes this tool and then I wouldn't be here and Payne's gray. This is a very dark blue, almost black blue that I will use to dark and my colors. Or make some shadows. And these are Purple Lake is purple in Rowe's murder. This very strong baker, folks. Yah, I don't know if you say like that in English, like a strong ping to make the flowers to bring the flowers, and that's it. 3. Initial Drawing: way are going to make our initial drawing my printed version, my reference picture, a size a letter and the paper amusing ISS 10 inches by 14 ing just over 26 centimeters by 36 centimeters. So I want to make my trying a little bigger than the reference picture. That means we have to start drawing something that that's easier for me, like drawing from the most general shapes to the details that that means general shapes first and composition and the location off age, flower and day branch each front in a general lines and strokes with my Ben seal. So I start with what I think it's most E. C. For me. I I analyze the reference picture on start drawing the shapes. Very rough lines, Nothing too specific. I will have to correct over and over. I can draw over the lines, or I can use the eraser. But either way, it's fine. Once I'm sure that my flowers are in the correct position, they they don't need to be exactly us the reference picture. I can't decide to put them closer or put them farther apart. That's our deficient. The reference picture is to start reference picture, and we're not doing scientific illustration here or botanical illustration. This is I am more like art botanical art, so we have a lot of room to express and decide. We don't need to be to accept that goes for the drawing, and that goes for the the color to sing as well. Now I'm starting to draw inside flower shape off each. Beto and I will do the same with the other flower, and I will correct any race and broke again to I am satisfied with drawing I have made, and I will do the same for the branches. Remember, you are drying the general shape, the regional lines where you see the direction of the brand. Changes are if there's a little bod or it changes from one better to another. Don't draw the texture in the battles or the texture in flower buds or anything like that, because that will interrupt your painting. The idea is to have the general shape with graphic pencil and then we will paint, and with the painting with watercolors, we will make the textures in their little lines. You can see magnolias having their perils. All of that we will do with a brush for now, Just the main, um, Leinart. You don't say if you decide to do your drawing the same size as your reference picture. If you have printed your reference picture, you can use a ruler or the length off you're a graphite pencil. And to measure and compare your your drying versus your printed person so you can say, Oh, the this better in the brink Flower in the Russians. Victor ISS this long, for instance, Space as long as half my pencil. So you used that measure in your paper and you're trying and you drop duck, kiddo, as long as half your pencil, I hope it makes any sense to you. Sometimes I use my finger. I point in my reference picture. I'd point out where there's, um, the tape of one pedal and there, and I compare it with my drawing. And where should the next better be drawn? That brush you see me, you think ace? Um, it's very useful for me because when you use graphite and you erase when you raise too much , you turned to more. They racing beats with your hand, and if you do that too many times. You you can't smudge your paper with the graphite. And this brush has such soft bristles are hairs that it kind of sweeps away the rest of the eraser. But it wants much Your paper. Yeah, it is. It's not a necessary toe, but for me, it has bean very, very useful. Okay, now that we are ready with our initial drawing, we can move on to them mixing unit. 4. Color Mixing: okay, we'll start with the pedals, so I need beings now. I need to let them dry first before compartment, because when watercolor dries changes its vibrancy and it's more shiny when it's with. So it can be. I will list on the colors I used. They're makes us, um, the colors from the palette. This more pink. This is cooler A. It tends toe magenta. More purple, you know, mixed with them with this, you know, is one year low, I think is are so yellow. - If these are the right colors, I will put a little note. We need toe swatches with mixing colors with the corners I used for each one. Sometimes you will see that your mix tense. Two. Separate if you use, for instance, two different colors, you makes them like this green. You create a green, and a few minutes later you have the two colors into original colors. They have separated, and then you see two colors, and not that makes you make. And that's because you used colors with different granule ation. So if they're different regulation, they don't mix well. They tend to separate, but that's completely normal. I just told you have to do is just keep mixing them. When you apply them and they try, they will dry well blended, so that would be a problem. Here I can see the border off this makes is more yellow in the center is greener. And that's because I made this makes with ultra marine blue, and I saw, you know, and this blue, this ultra marine blue is more granular, so this one is has a finer Grenier ation, so it will tend to a spread. Final regulation tends to spread when you see that some people with their paper and put a tiny bit of paint, and that ain't moves like crazy and spread. That's because the big one is so fine, so small. It kind of floats over the water in the paper, and it moves. If your big men like the two marine blue and other colors, if you use one of those pigments with bigger regulation, they will have more weight so they won't move. You just put them there and they will stay there. That's an extra listen. It's a very earthy green. I think it is the single ring as this one, but I turned it down with a bit of brown. I used this brown. This is awesome. This is a bird number kind of orangey brown. I will use this brown to make some accents in the branch in this little boats. I think this one these yellow is not so yellow. And you can notice that it's a little green. This is the same us a yellow. But I put there a really small drop of blue ultramarine blue. So these two are the same. Just that The dress that this is way more yellow than blue doesn't even show my paper. But if they used this pretty, very watered down sure you closer. It's very soft so you can use the's on top of your painting like a place once your first layer has dried. You can put this on top and make like tonight like lightning lightning, like in some federals. You see, the night is here in the battles, the sunlight. So it's a little warm. It's a bit world. You can just this one and this should be more intense. This is dry already. Yeah, Maybe I should use two layers or more. I think Breaststroke. You are a mixture. Get this deep. This one So so that we can use it some sort of the pedals and then corners the borders. I would like to have more purple, so I'm gonna give these one. This is strong, but I think it will work. Always make sure my brush It's very very. I mean, and I dry it, turning it around and around to maintain the point because this brush is a very, very fine point. I don't want to ruin it, so I always make sure to do this. Um, so here we have this perfect green. Be very, very useful. This going to this one, ISS? Yeah, I think we would use it. Some of the pedals is I'm not so convinced, but maybe in some areas to this is a different color. I want with this battles the stronger ones. Um, this year low. I don't need this one. I don't know. So I'm gonna take it out from my palate, admittedly, because when I start painting, maybe I will need another extra will. And this one will be used with the Colorado when I used, so I better have it ready. I guess they want to make a new next term there, so this one won't go then I think that's it. Now let's get to the painting park. 5. Painting the first flower: Okay, Now we're going to start painting. I want to start with the pedals. For instance, With this one, it has a much stronger color here. And it goes almost to the white in the border. So I think I wanna use wet on wet technique. I don't know if you've seen some of my other classes where I explained what? It's wedding with technique, but we're gonna use it here. No. So the thing is that you need to with your entire area, but I don't just better. And then you will apply your color here. Where's the strongest part of the pedal? And then you will sweep. Sweep the color to the rest of the head of then you will accommodate and more until you're satisfied with with the look. Now, how much water you're gonna use? Just enough to have a shiny paper. We've done one bottles and we don't want areas. They're dry areas that are shiny. No way. Need on even trying paper. So we're gonna begin with that, Um I'm assuming you already have your colors mixed. I'm only gonna use these these two colors for now, so I need to make sure I have enough of these. And once I have enough, my colors mixed. Then I can go and with my paper. Because if I do it on the other way around, if I went the the paper first then I go to my palette. Prepare my collar. When When my color is ready, I will go back to paint and my paper will have dry. And then I will have to wet all over again and I will be losing time. So first color color mixing them, wearing the paper and then painting. I'm gonna make more of this color first. I always keep paper tell close, mostly in my hand and I also keep I know right here when I want toe a clean a very, very brush into it Here. When I'm just cleaning the teeth of my brush, you are drain. I used this one This roast murder. This is brilliant. Purple. You see this to too strong. Now, when you use the women with technique, you have to know that when you paint on what paper, your colors will get thinner because you will have water in your talent and water in your paper That's presses water so it's better If you want to get an intense look at the first layer. It's best to you, Savary a think Mr like the one I have here because this is how it Bates very dark Barrington's very concentrated because it is a thick mixture. But when I put this color here, it will mix with the water in the paper and it won't be us intense is in this paper. Okay, I am using this extremely soft and, um, setting silky paper. It is just my favorite paint, especially when you wanna paint. Botanical subjects are really stick going to you that way. The Dexter, the grain In other papers when show here I won't interrupt. They're looking off my what? Color pink If you like the rough texture or cold pressed they're nice. They look pretty as well, but I have used them, but I just I don't know. I'm not comfortable with them. Thanks. My brush waas a little dirty with this mixture, but I didn't mind because the whole peril is very being So it doesn't matter if I went my pedal with 30 30 being water, I will use it It it goes in my favor most. I hope you can see it till reading the way it spreads. If you have butter, pigment will know always towards toward the with area. It won't go here because here, strike a lot of nights. I was just playing okay to hear 10 times he didn't think turns up to here. I mean, just a little bit. You see, I still have painting my brush. I'm gonna do little strokes. Little strokes. They will get bigger because they will spread in the paper. I want to show you here. The pink goes up to here and then it's white in our picture, it's not really white. It's more like a great. So I guess we if we wanna pain that grain, we will have to let this dry. And then we can do a little wash off a very water downgrade and applied on top so it won't look to wait. I need to make this a little more intense and cooler toned. So I'm gonna use come Beautiful. That purple lake mixed with the brilliant Perper purple. Sorry. Put it here. So, like this one, this one doesn't really wet too easily not opens and pigments re with us first to so you know, doesn't mean it is a bird. Brains two step big pimping the lines I'm doing here. I have to make sure I'm doing anything that little car to. So just a bit of volume two. Yeah, I think it is too harsh where it ends, the pink and the white. So I need to blend with We don't off water a clean brush and I run depend on the painting to make it smoother If you are you seeing cotton paper or paper with a tiny amount of garden, you can run as much as you like, But if you're not, be careful because, um, wood pulp paper tense too. He solved there. Now, since I have bent in this one, I can't I can't paint this one or this one because went and what they The paint will go from one place to the other, and it will get all mixed up. So I need to paint something that doesn't touch these pedal. I see. So, um, I have a white area here. What area? Here in the border of this. So that means there can be paint for water here. I need to read the leave room for that lying and then I can pain so I could paint this one . I just need to make sure my water doesn't get to the other. The other personal Now us. The paper is trying. You will have different stages off moisture, which means you will have different stages or different kinds off texture when you make a brushstroke. If your paper is super wet on the first state, then all your your paint will move everywhere and you won't be able to make a line or, uh consistent noticeable line. But as time goes by and your paper gets, try and dryer, you will be able to make them more defined lines and temples by even more to find lines until it's completely dry. And then you can make a completely harsh, strong line. Like in this case, these are somewhat defined lines because the paper waas already drying. If I make a line now, it will be too harsh, too strong line, and I don't want that so I can't put any more brush strokes in this battle, but this one should be you look at it if I tilt my paper and the one area I can see they're still a little shine here. And you So I will not make some light. Brooke that now looking at my picture, I think I went overboard with the color and this tiny fellow. So I think when when it has completely right, I might lift a little of the color. If I do it now, I e I might leave a strong mark off the brush here and I don't want that so rather wait into it later. No, my paper here has tried so I could paint here and the paint won't go over there. But here it is still wet. If I look at my picture, I have a little of a yellow, you know, poker here. And also I have a white line That's the reflection of light eternally white. So I could paint if I leave this area wide with no water and no paint. And I won't have any problems. Any problems with this area being wet, just like I did here. I have some, you know, local areas brown. That's where so quarters? No, when I let them makes, remember once this has try. The color will seem later. Softer. They look very intense now because of the water. The water flex light and makes the colors look shiner. Some of my students here in my studio when they take the glass for the first time. And I asked them why they're taking worker classes. They they tell me. Well, I have tried on my own, but I can understand why things changed so much pain, something, and then on the other the next day, the thing is completely different. I don't know what I did, and I don't know what what's going on and what colors make whatever they want. They can control them, and it's on the water. Okay, No way. Go. We're gonna go here. I have a white lying us well here. So but this battle is so much stronger in tone and color here, but I'm not gonna use within wet like I didn't hear you. I'm gonna put the bank straight to the paper. - I have left this side. We have 12 and that's it to Palos. - I'm looking at my repressed picture in the whole time, but was looking at it so I won't get lost too much pain. I pick it up with my brush. Yeah, and there is, you know, those. It is very fail there. Now we will move over here. Right? Use. It's a little shiny. - My papers trying us because I have it on that goes drying time. 6. Painting the second flower Part I: Now we're going to paint the second flower. You can see that I already started, but the process is the same as we did in the first flower. We need to decide if we're going to use wet on wet technique. If we see there's the scenario section of the flower that hassa a soft radiant of color, then you can use the wet on wet technique toe. Apply color in one area and then sweep it to the to the section of that area where the color will be fading away. Or if you have noticed that there is one strong pedal, then you can apply directly the color onto the paper without you. Send the wedding with technique. Remember I told you the wedding. What technique? We'll make the colors fate, fate and look softer. So if you have a strong color, then you should apply the color directly to the paper. Do the same analysis for it. Pedal and remember, if you're painting one area, you can't paint the area right next to it. If you wanna avoid the colors mixing up, moving from one side to another. But there are some pillows that I have like light color or almost white line. Then you can reserve that white in the paper and start painting the next better right away . Some areas in this flower have strong changes in tone in color because they are in a more hard shadow, and they, one of the petreaus, has a bumpy texture. Don't be afraid to bring some color if you wait for the pedal to be dry off from your first layer. Then you can put on top a bit off mixture of burn number or Payne's gray mixed with your pink to make a darker being or a darker purple, and put it on top of your previous layer. If you think you went overboard, you can immediately take that out with your paper towel here . - Yeah , okay, here. 7. Painting the second flower Part II: here. 8. Flower buds: 9. Painting the branch: Okay, now we're going to paint the brunch. If you look at the reference picture, you'll notice that the brunt is very dark, but it has a purple undertone. So what we're going to do is we're gonna use the same mix we used for the flower, that being purple mix, and we are going to darken it to darken that makes we are going to add a little bit off face grey, start with a small amount and then build up because based great, it's really dark and can overtake the tire mix. You will add a light layer to the entire branch, and then you will be adding more layers just on one side of the branch because we want one side darker and the other side a lighter tone, because that's where the light hits the brunch. So we don't want it completely dark entirely, because that way it'll look flat. There are some areas of the branch that doesn't have ah, purple undertone. More like, um, dark current are warranty brown, so to the same mix you will add a bit of burnt umber to make a more or rent a brownish tone , you will add it on top in certainly areas, according to the reference picture. And remember to paint those little butts in the branches. They're not green. They are very dark because they are small and they are in the shadow, so they are more like a greenish brown toe. Forget to paint does as well. 10. Adding Details: Now we're going to add the final details to our flower. I'm lifting here some of the paint to make some highlights, and now we're going to use our oil pastel, the one I mentioned you before in the materials unit. This is a white oil hostile by Penn tell they are school grace, so they are not expensive at all. If you notice in the reference picture, we have some tiny white dots, and that's where we're going to use their white pastels. We need to add pressure and I rotate a bit my pastel toe. Leave the color in the paper. It works best if the whole pot still has a tape, but since they don't come with a tape, we can break it and use the side. It'll be sharper and give you more color. Or if that doesn't work or it's too wide or you can achieve the detail you want. You can grab a knife and make the teepee us you would in a graphite pencil or a charcoal pencil. When you have that ready, you can press against the paper and twist a little, so that way it will give you more color on more definition. And remember, when you add these tiny white dots at them in a regular way, some bigger than others at clumps off white marks, then at another, white marks in more spread along the branch. That way, it'll look more organic. - No , I've noticed that there are some gratified lines still showing, So I'm gonna race those around the flower, - and I think I'm ready with adding details to my flower. Now I want to sign this painting. I'm going to sign with my brush and a dark color so Payne's gray would be ideal. And now I need to decide where I want my signature to go. And I don't want the signature to enter of the painting, so I will be signing along the branch. 11. Thank you! and more info: So you made it through the class. I can't wait to see your project posted down below. If you want to share. Of course. And I don't know if you remember. I mentioned in the materials unit that I wasn't going toe take down my paper because I wanted it toe get waylay and back on purpose. And that's because I want to make another class really soon about how to stretch your paper when it's already painted. So if you are interested in that, make sure to follow me. So you get notified us when I say you know that class. So have fun with watercolors and keep practicing by.