Watercolor Flowers: Paint 5 Beautiful Watercolor Flowers | Anne LaFollette | Skillshare

Watercolor Flowers: Paint 5 Beautiful Watercolor Flowers

Anne LaFollette, Surface Pattern Designer & Coach

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8 Lessons (51m)
    • 1. Introduction

      1:06
    • 2. Materials & Class Project

      4:01
    • 3. Daffodils

      10:26
    • 4. Tulips

      9:05
    • 5. Peony

      6:41
    • 6. Pansies

      9:12
    • 7. Ranunculus

      7:26
    • 8. Wrap Up

      2:39

About This Class

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Welcome to my newest class: Watercolor Flowers!

In this class, we will paint 5 flowers together:

  • daffodils
  • tulips
  • peonies
  • pansies, and
  • ranunculus

All you need is watercolor paper, paints, brushes, water and paper towels. This class is great for beginners. I'll walk you step by step through the process of:

  • observing flowers from reference photos, 
  • picking a color palette, and
  • painting several versions of each flower to experiment with new skills and techniques

This class will use beautiful reference photos from two books by Caroline Roehm.

We will paint different versions of each flower to practice new techniques and skills.

I can't wait to see what you create so join me and let's get started! 

Transcripts

1. Introduction: Hello there. And welcome to my newest class called watercolor flowers. I'm an Leffall. It Ah blogger, watercolor artist and pattern designer. I sell my work on society six and also on spoon flour. In this class, we are going to paint five flowers together. We'll start with daffodils, move onto tulips, then to a pne. Then some pans ease. And finally, Rin Oculus will be using reference photos from two beautiful books that I love by Caroline Rome. And all you need for this class is some watercolor paper. Some watercolor paints, a variety of brushes, water, one for your warm colors and one for your cool colors. And then, finally, some paper towels. I hope that you'll join me in this class. It's going to be a lot of fun, so hidden rule and let's get started. 2. Materials & Class Project: welcome to class. I am super excited that you decided to join me. So let's jump into the materials that you'll need for the class as well as your class project. For this class, you'll be losing a variety of brushes. I'm showing you my sort of set up here, starting on the left hand side, I have a number three round from the Princeton Select Siri's. Then I have a number four from Princeton, Neptune Siri's, which is also around tip. Then I move up to a number six, which happens to be a fiber castle. The next one is a number eight, which is also by the Princeton Select Brand. Then I have a number 12 round from a brand called Rafael. And then finally, I have a different number 12 from the Princeton NEP Khatun Siri's, which is even fatter and bushier. I love to use an array of different sizes, but all of the brushes are round tips, because that way I can get both a thick line. If I use more pressure with the brush or a very thin line, if I just apply a little bit of pressure using Onley, the tip next you'll need some watercolor paper, and I like to use skansen cold press ah, £140 paper. I buy it in thes tablets, which are nine by 12 inches. I really like the size, and I also like cold press because it has a little bit more texture to it. In the lessons, I'll be using two different watercolor sets, and that's not at all necessary. I just happened to go back and forth between my two favorite sets while I was building this class. So the first ones are tube paints that come from a brand of watercolors called Mission. There they This is a 24 pack, and I'll include it in the resource is for you. So if you want to explore purchasing it, you will. They'll be a link for you there. And then I also use a small set of 12 that is from Windsor and Newton. And I love this little travel pack because it's on Lee 2.5 inches by about five. But it still has 12 great colors, and it's super portable, so I can take it with me everywhere. I recommend that you use two jars of water one for your warm colors and one for your cool colors, and you also needs and paper towels. As we get into each lesson, I'll be showing you which watercolor set I'm using. And I'll also create a palette for that particular flower. So you'll know if I'm using the Windsor and Newton set or whether in this picture here I'm using and created a color palette from the mission watercolor tubes. I'll be using reference photos from two of my favorite books. The first is Caroline Rome's Spring Notebook, which is part of a series that she used to publish of seasonal flowers, and the other is her oversized, a coffee table book called Flowers, also by Caroline Rome that has gorgeous pictures in it. But I highly encourage you to find your own versions of the flowers that will be painting and so you can find a photograph that really inspires you as we go through the lessons together for your class project, please upload your work. I will be doing two versions of each of the flowers in each lesson. I would love to have you do several versions as well, but as we progress through each lesson. Please go ahead and upload your finished work because I would love to see it. And I'm sure all of your classmates would too. So that's it for supplies and the class project. So let's get started. I will see you in the next lesson. Bye for now. 3. Daffodils: the first flower we're going to paint together is the daffodil. Here is an image that I will be referencing that it's from the Caroline Rome spring notebook that I purchased many years ago, and what I observe when I look at this image is a couple of things, and I always like to zoom out before I start painting, since I don't sketch before I paint. So I like to look at my reference image and make a couple of observations before I actually get started. The first thing I noticed is that the stems are actually quite straight, with the exception of the very top portion that curves gently before the blossom actually explodes off of the end of the stem. The other thing I noticed in this particular reference photo is that thes daffodils air all variety of either creamy whites or light yellows or deeper yellows. And then one of them that's in the middle on the right hand side is a gorgeous sort of golden yellow with a very bright pop of orange for the interior portion off the bulb. So that's what I like to kind of take a look at before I get started, and then finally, daffodils also have a very recognisable, very small kind of brownish grey, um leaf. That is not really a leaf, but it's sort of a shield protector that is at the very top of the stem and so will try to capture that as well. The next step in the process for me is to create a little color palette so that I know the colors that I'm going to be using before I start painting. And so here you can see I'm using two colors of green. It's a sap green and a hooker's green, and I will be using a variety of shades, depending on how much water I add. And I'm also using a lemon yellow and a permanent yellow deep, And all four of those colors are from my mission watercolor tube set. And finally, the color that's on the far left hand side is actually a very diluted brown. That was just on my color palette from prior work, and that's the color I'm going to use to try to capture that very thin sort of sheath that's at the top of the stem right before the blossom happens, I'm going to start with the stem and use a combination of the hooker's green and the sap green. And the brush that I'm using right now is my number 12 round tip from the rough El brand. And I'm trying as I create my stem to ensure there's a little bit of variety of color by going back in to, ah, deeper tone of the green and adding it in several areas along the stem to create additional interest. Next, I'm going to create some of the out exterior pedals of the daffodil, and I'm starting straight from my lemon yellow. And the other thing I didn't mention when we were looking at the photograph. But that's very distinctive about daffodils is they have a very roughly effect at the end of the sort of the tube portion of the flower. And so I'm trying to make sure that I capture that as I create not only the leaves because the leaves are also very delicate and have a lot of ruffles on them as well. And so does that internal portion of the flower that I kind of call the trumpet now. What I want to do is I want to dip into my orange is one of them is the permanent yellow deep. And then I think I also took a little bit of my other orange, and I'm going to add that in the center because that in one of the although I don't try to really create representational work, I know that one of the things that will make this more recognizable as a daffodil is creating that interior space in the darker orange. So I'm going to do several blossoms on the same page and try to create a pleasing composition. When we were looking at the reference photograph, I mentioned that the top of the stem when you're not looking straight on the flower has a very pretty curve to it, which is what I've tried to create here before I move on to creating the A side view of a daffodil that this time will be more orange. And so what I'm doing is I'm actually not. Ah, I will be using a wet on wet technique in some of the other lessons, but right now I'm just using the paint from my palate, and I'm putting it straight onto the page and m really trying to sort of almost sketch a little bit more with my paintbrush, since I don't use a pen or pencil to sketch my elements before I get started and again here . I'm just trying to create a little bit more dimension by adding a deeper tone of the orange on the inside portion, which is a intended to sort of suggest that that tubular portion of the daffodil that comes out through the center and now what I'm doing is I'm just trying to add a little bit of, Ah, suggestion of that little, very skinny film. Fill me, um, sort of brownish grey. It's not even a leaf. It's basically just a sheath that surrounds the very top of the stem and I think protects the stem, Um, and helps connect the stem to the daffodil itself. And that is, I'm just using a color that was on my palette. It's a combination of a very light purple, very diluted, with some additional brown added to it. To get that light shade, I will finish up this third daffodil on the left hand side, which is also ah, partial side view of the flower. I'm doing it in time lapse at four times speed. And then I will show you a final picture of what this composition ended up looking like. Here it is before we move into my second version. Now I'm going to show you a different version that I'm photographing from the side. I thought it would be fun for me to do a virgin using my overhead camera so you can see it is kind of from top down. But then also watch me work as I'm doing one with using my iPhone, actually on a small tripod to the side. So I'm starting again with my central stem, which is very straight. And my first daffodil is going to be kind of a straight, a straight on view. And so I am using a very similar approach that I used in the first version where this first at Fidel is going to be quite yellow, with most of the differentiation and color coming from both adding some additional water to my brush so that some of the exterior pedals are a deeper yellow than others. And then also finally, when we get into the center, I'll definitely be using a deeper orange to differentiate that central trumpet area from the external pedals. I forgot to mention this when we went over the materials, but you need to have water nearby when we're working and you can see here that I have two jars. One is where I will be rinsing out my cool colors, and that's the one that now looks a little bit like green and then a separate one for my warm colors, which looks yellow, Um, in this photograph, because it's very helpful to keep your brush clean and not mix between your warm and you're cool colors as your cleaning off your brush. Because if you're mixing them just in one jar, the water becomes very muddied and very brown, and that can then sometimes impact the color that you're the new color that you're picking up and that you want to paint with. So that's just a cool tip. Teoh. Super easy to do to have just two jars. Incentive one, and it does actually make a big difference. So what I'm doing now is I'm adding that darker orange to represent the inside trumpet of this particular daffodil, and then I will be moving on to the ones that I'm doing on either side. So I'm gonna go to time lapse now, just to be mindful of your time. As I complete this second version of my daffodils, I'm doing a very similar layout where I have my central flower taller than the other two and with more of a straight on view and then with the two that I'm doing on the left and on the right of that central flower, I am creating more of a side view of, um, each of the daffodils just to try to create some interest and also to practice and to get a feel for What does the flower look like when you're looking at it straight on versus what does the flower look like when you're looking at it from the side? So play around with those in your own versions as well. Here is a final flat lay image of those three daffodils that I was just completing, and I hope that you have fun experimenting on your own with daffodils. I can't wait to see your versions. Please do as many as you'd like and make sure to upload them into the project galleries of the week and I'll see your work. I really look forward to seeing what you create. And now let's move on to the next lesson. I will see you there. Bye for now. 4. Tulips: The next flower we're going to paint together is the tool. Up here is an image again from Caroline Rome's Spring Notebook that depicts some really beautiful orange and almost sort of blood orange to ellipse. The one in the center is released just starting to open. The one at the top is still quite closed, and then the one that's actually on the bottom is much more pink and white in tones. The brilliance of the color and the depth is definitely something that pops up off the page to me. The next thing that I noticed in terms of form are the leaves. The leaves are quite large there very long, and yet they also have a bit of a ruffle along the edge, and they envelope the stem in a really beautiful way, and the stem itself is a lighter tone of green. The stem itself is quite straight, just a very soft curve, and it also is cylindrical in shape. Based on those observations, the color palette that I have picked for my tulips really has deep oranges and reds in it, as well as the same greens that I have been using up until now. So here is a picture that shows you I'm using the mission tube watercolors. I'm using the sap green and the hooker's green and then in terms of the orange and the red . I'm using a permanent red and a yellow orange, and I'm adding a lot more water to get the very light orange that's on the far left hand side. I'm going to start this time by painting one of the large leaves that is along the left hand side of this composition. And then I will move to create the stem, and I'm going to try to place all of the stems that I want for this composition before I actually move on to the tulips themselves. As I decide toe, add the two stems that I wanna have in this composition. I'm adding a little bit of yellow to the green because the stems are a much lighter shade of green than those leaves, which we noticed when we were looking at our reference photograph. Now, as I move on to start working on my first tulip, I'm going to start with those beautiful oranges to create the leaf shapes that are distinctive off tulips. The key for me here is to make sure that I am using a variety of shades of orange in order to try to capture the fact that the leaves overlap with one another and toe also define some of the, um, ruffles that exist at the top, depending on the variety of tulip that you're actually painting and what's great about tulips and what I can't wait to see when you post your work is what type of tulip did you actually pick to paint there So many different varieties, some of them arm or sort of sculpted in terms of their look. Some are much simpler. Some have an amazing amount of detail around the edging with a lot of ruffles. And the key for me as I'm working on tulips and really on any flower, is to make sure that I'm trying to stay conscious of how I'm using negative space and how I'm also dipping my brush in water after I've applied my initial amount of color to get gradations as I move from the center of the tulip to the outside of the tulip. But the negative space is definitely one key aspect off of my approach toe watercolor work . And as I work now, on my second tool up where I started off with a little bit too much yellow, I'm going to go back in and ADM. Or orange tones to it to try to deepen the tone a bit more. And then here I am, dipping my brush both on the paper, which is dry. But also I'm letting this deeper orange melt into the lighter orange, and I'll show you a close up in a minute or two because the effect is beautiful when the two colors actually mix. Now what I'm doing while I let it, I'm waiting for it to dry a little bit as I'm going to add one of the deeper colored leaves that we saw in the reference photo, and I'm going to have it actually be above the stem of this particular tool up, and I find tulip leaves to be very challenging to paint. I'm not sure exactly why it may be because they're actually they have quite a simple shape , and I find that challenging to represent. But that's why I do multiple versions, and I do my best as I moved back Now actually to the tulip on the right hand side, I'm going to add some additional color in that permanent red. And once I finish this leaf that's at the bottom. I'm going to do a close up shot of that tulip because I really want you to be able to see how beautiful it is when the two colors of the red and the orange mixed with one another, and it creates an amazing effect when the when that happens and it's a little tricky, it definitely takes practice to determine when how wet you still want your first color to be, and in fact, how not to wet. It needs to be in order to get the type of blooming effect that you're really seeking. So I'm going to work on that same effect here with the tulip on the right hand side, I'm adding that permanent red color into the orange, and there's it is still wet enough so that as I dab my brush into the color, it is starting to expand and create beautiful, almost ah, feather looking areas along the edging. And here's a close up that really shows how beautiful that mix of color is, and it's completely uncontrollable. It takes a lot of practice to figure out how much how what you wanted to be, but also actually, as I mentioned, how you don't want it to be too wet, because if it's too wet, the two colors will just completely fade into each other and you won't get that beautiful edging that really looks like a very light feathered effect. Here is a flat lay of that first version that we just did together, and now I'm going to move on to my second version, which I will be filming from the side like I did in the first lesson. This time I'm going to start with the stem and the stems are quite straight, although they have a little bit of a curvature to them, that's really quite elegant, and I'm going to add a few leaves like I did in our first version, and then I will move on Teoh the tulips themselves. I'm moving into time lapse now, since you watched me pain to the entire first version, and I'm going to do a fairly similar composition where I have to tulips, one that's slightly off to the left hand to the right hand side of my page that you see me painting. Now here is what this version looked like. And I also did a flat lay photograph of the color palette and the number 12 round brush that I used, as well as showing you both of the versions and how different they look from one another and the different use of both color and also the blooming effect that we described earlier . So I can't wait to see what you create. Please don't forget to post your work in the project gallery and let's move on to the next flower. I will see you in the next lesson. Bye for now. 5. Peony: welcome back in this class, we are going to paint the PNE. But instead of doing a version of the pee anywhere, the blossom is totally open. I actually and very intrigued by the buds off these beautiful flowers and thought that it would be fun in this lesson for us to focus on that. Instead, this photograph is from Caroline Rome's spring Notebook, which have shown you before, and it's a gorgeous picture of a the bud of a puppy any before it actually starts to bloom . When I look at this image there, three things that I observe the first is the stem, which again is actually quite straight, with just a little bit of curvature to it. The second is the leaves, which are darker green and which have a stiffness to them. They almost the ones that are right below the bud, are almost like sort of helicopter propellers. And then, um, the but itself has very tight leaves surrounding it, that air holding it together at the moment before it starts to open. And then, of course, there's a beautiful pinkish red that that is the blossom itself. That is a deep color because it hasn't opened up yet. After looking at the photograph, I created my color palette and I'm using two colors of green, the sap green and the hooker's green. And then I'm also using a permanent red and a bright opera, which is a bright pink. I'll start with my stem, and I want to have it reflect that sort of straightness and yet have a little bit of curvature to it. And then the leaves have quite a bit of undulation along the edges of them. And so I want to make sure that I'm capturing that as well as I moved to the leaves that are up around the bud. I am thinking in my mind of that image that I had when I saw the photograph off them being fairly straight and sort of like helicopter propellers from either side protecting the bud . And that's what I'm trying to capture here, using a darker variety of the hooker's green. Now what I'm going to do, and what you may have noticed with my painting style is I don't sketch the image before I start, but I do almost sketch using my paintbrush and so I will frequently I use the paintbrush initially to sketch the outline of the shape that I am painting. And then I'll go back in with additional water or a different version of the color to fill in the shapes while still trying to be very cognizant of maintaining some of the negative space and leaving white in order to create more dimensionality. And here I'm trying to capture just a little bit of that sort of very, very faint green or almost a sort of greyish brown color that was on the side of the bud. Now I'm going to move into the actual but itself and try to capture both the roundness of the shape and also the deep saturated color that the but has. When it's in this this closed state, I'll be using a combination of the bright opera, which is what I'm starting with. And then what I'm mixing it with on my palate is some of that permanent red in order to tone it down a little bit and, um, and add a little bit of a variety of color. Next, I'm going to fill my brush with more water and some additional pigment using the hooker's green to fill in the leaf on the left hand side of the bud so that it pulls it forward more and differentiates it from the leaf on the right hand side. And now I've gone back in and added Mawr of the permanent red to my brush, and I'm dabbing it along the perimeter of the bottom off my bud in order again to try to create some dimensionality a little bit more of, ah, sense of distance between the top of the bud and the bottom of the blood that is sort of partially hiding underneath those two leaves that in capital encapsulated along the bottom . Finally, here I'm just adding a little bit more of that permanent red in certain places by dabbing my brush into the existing paint. And the base layer is dry enough that it is blending with Thea other color but not too much . It's still showing some differentiation, which is what I'm going for. I'm moving on to my second version, which I'm filming from the side, and I'm going to use a little bit of a deeper green for this version to differentiate it from my first version. And when I'm working on the bud. You'll notice that as I add the pink, it touches with the green. Um, it's gonna happen right around now as I go towards the bottom of the bud and you'll start to see the pink seeping into the green. And while I want that toe happen in certain places, the green paint is too wet, and so it's actually mixing more than I would like it to. So I've slowed this back down to show you how I can remove some of that pigment. I washed off my brush and then I dried it on my paper towel, and now I'm dipping it into the green areas that got too saturated with the pink, where those two colors mingled in a way that I didn't like. So I'm removing it until I get to a place that I actually like. And then here's the final version and you can see that I went back in with darker green toe . Add some green back once my first layer had dried. So there you have it here, or my final two versions. Please post yours in the project gallery. I can't wait to see them, and now let's move on to the next lesson. I can't wait to see you there, and bye for now, 6. Pansies: in this lesson, we are going to paint pans ease. Here is a picture from the Caroline Rome spring notebook that I love so much. And what I observe when I first look at these beautiful flowers is that they have rounded petals and they actually have three primary peddles that kind of come together into the center, where there's that very bright yellow. And then there are additional pedals that are in the back, some of what you can see in this picture and some of which you can't. For my first version. The color palette that I'm going to be using is primarily purples. I'm using a lemon yellow for the centre. I'm using a bright, clear violet for the pedals, and then I'm using the sap green and the hooker's green for my leaves and stems. I'm going to start with my stem and then I'm going to move on to the leaves, and I want to make a comment about creative license because four, my pans ease in particular. I'm really not replicating their shapes very accurately. In this first composition, Pansy is have very short stems because they grow very close to the ground and their pedals are rather, their leaves are much more rounded there, rounded and they have a little bit of a ruffle around the edge. And that's not at all. When I'm depicting here as I move on to paint, the actual pans ease themselves. This may be a little bit hard to see because I'm using a very, very watered down sort of violet color to create the rounded shapes of the leaves. And then, ah, what I'll be doing is on that sort of what surface will now be dabbling in with my brush with my darker purple and watching kind of what happens as the color expands out from the center into where there is more water on the balance of the leaves. And what's great about this technique is that you can either completely leave it alone and let the pigment settle in to where you have the water on your paper. Or you can add additional pigment and then dab it with your brush in order to move it around. So my next version year, I'm going to start with the darker color of purple and vary that based on the amount of water that I have on my brush. I'm continuing to use creative license here because panties have three big pedals that are in the forefront. And then they have additional pedals that are behind and mine show all of the pedals on a similar plane, a technique that I want to show you here is once I've added darker pigment around that center, I now I'm going to take my brush that has a little bit more water on it, and I'm going to dip into the darker area and pull it outward in order to move more of the pigment towards the external areas of the pedals. And you can see that the flower on the right has. Actually the pigment has expanded quite a bit out to the balance of where the pedals are, which is a really beautiful effect. And now what I'm doing is just trying to manipulate the color a little bit more to help define the overall shape of the pedals themselves. I'll continue to work on this composition by adding the stem for this flower that's on the left hand side and again, a zit mentioned before my leaves air not at all. Representational of pans ease, and that's where creative license comes in. And then for my last pansy that I'm going to add to this composition up in sort of the upper left hand corner to try to create a little bit more balance to my composition. I'm going to start with pretty much just water. And then once I've painted the shape of the flower using the water, I'm going to go back with my purple or violet. It's actually one of my mission colors coming out of the tube that's called ah, bright, clear violet. I'm going to add that to what? The water. And in this version I put a lot more water on the paper. And so now you can see with very dark pigment. It's really exploding into those puddles of water in a more dramatic and fast fashion than the version that I did first, that's on the right hand side. I'm going to continue to add additional pigment to this flower, and then I'm actually going to go back to my other two flowers as they have dried a bit more to continue to play around with the amount of pigment that I want to have showing through on each one of these different pans ease, so they're all gonna have a slightly different effect. But they all do utilize this wet on wet technique that I love so much that creates this beautiful feathering effect as the watercolor spreads through the base layer of water, or what I like to call sort of the water puddle. That is where that's how I began the process. So here again, I'm adding some additional pigment, and because the flower is not totally dry, you can see that it is still continuing to fan out. And it's really beautiful, especially in sort of that upper the upper portion of that flower. And I'm going to do a little bit of this similar effect with my flower that's on the lower left and continue to just play around with where I want to add additional pigment. And then now I'm going to move into adding the yellow centers, and I'm actually using quash for the yellow centers because it has less. It's less transparent. There's Maura opacity, um, to go wash, and so I just have a tube of yellowed wash that you can see there on the right hand side of my of the picture, and I am have put water a little bit of water on my brush, and then I just literally dip it into the top of the tube and then apply it very gently into the center of the flower. And what's great is that as the overall flower dries, the contrast between the level of transparency you get with watercolor and the level of opacity that you get with this yellow creates really a mom or dramatic contrast. And what I also did is I went back with purple gua sh and added all of those very fine lines. If we go back to look at our picture really quickly, you can see those really fine lines. And I'm definitely using creative license because I'm putting them in the yellow center area where is actually in a pansy there mawr on the pedals. Here is a new photograph that I found, actually just by Googling pans ease, and in my second version, I'm going to focus more on Pansy is that have their three primary pedals that are yellow and then they have their to secondary pedals, which are behind that are purple as I paint my second version. I've actually moved this to time lapse at four times speed. But I began the process with my stem and my leaves. And then I'm trying to be a little bit more accurate in terms of actually what a pansy, how it pansy is composed and what it looks like. So the flower on the right, I first put down my yellow pigment and created the three primary leaves and left a little bit of white space there in the center, which I'll go back and address in a minute. And then I painted the leaves that are behind that are than that bright purple. Now I'm adding those very skinny marks that kind of look like eyelashes that air in the center of the flower. And for my flower on the left hand side, I actually started with the external pedals, which are the two purple ones. And then I added the ones that are in the front in yellow. And then I added the the very skinny lines, and I'm using a purple glow wash for those purple lines in the center of the flower because I want to make sure that it doesn't mix it all with my watercolor paint. So there you have it here or my final two versions. I can't wait to see what you create. Please don't forget to post your work in the project gallery so that we can all see what versions you decided to dio. And let's move on to the next lesson. I will see you there. Bye for now. 7. Ranunculus: in this lesson, we are going to paint Rin Oculus, and this is one of my very, very favorite flowers. They are have a beautiful straight stem that you can see in this photograph, and then they just have layer upon layer upon layer off pedals that are really, really beautiful to try to depict using watercolor. The color palette that I've chosen for my versions of the ridiculous is from my mission paints. I'm using the hooker's green and the sap green for my stem and my it leaves. I then will be using ah, combination of the permanent red and the bright opera, which is that vibrant pink color. But I'll also be throwing in a little bit of lemon yellow and permanent yellow deep to create the variety of color that I like in my versions. I'll start by painting my stem, and then what you couldn't see in that photograph is ridiculous. Have very small leaves that are kind of tucked right below the blossom. They're usually two or three of those which I'm painting here. As I move into the blossom of the flower, I start with a deeper color for the very center and As I move outward, I'm going to be creating lighter tones, and the technique that I'm using here is I'm going to be applying pressure to the brush in order to create larger strokes like you're seeing me do here. So I'm varying the stroke with by applying pressure to my brush as I move in a circular motion around the flower to continue to create that sense of the flower exploding from the middle outward. And I add my different colors as I go, and sometimes I'll start as I did there with water, and then I'll add the pigment on top of the water. I want to ensure I'm varying my brush strokes with thick and thin, and that I'm continuing to expand the size of the ridiculous as I move outwards. In addition, a couple of other techniques I'm using is when I move around the edges of the flower, I sometimes go back and add additional pigment in areas that are still wet so that I can get that blooming effect that we've seen in some of our earlier flowers. That I think is really pretty, especially when the pink is mixing with the orange in some of those areas on the left hand side of the flower. In addition, I'll wet my brush like I just did there and then just pull it along the size of an existing color toe. Also get the color to expand, sort of from the inside edge to the outside edge of that particular stroke. As I continued to work on finalizing the overall shape of the flower, I will go back in with deeper pigment and again add in to some of the central areas. The deeper pigment in orderto creates the type of variety that I want, with both fatter strokes and dinner strokes, lighter colors and darker colors. And there's another example oven area where I added the permanent red to the orange to create yet another tone of color. And I'm doing that also in a couple of other places, which are not quite as wet, and so they're not expanding as dramatically. One of the things that really requires a lot of practice is how wet you want the surface to be when you're trying to create that sort of feathered blooming and the wetter the surface is, the more the colors that are being combined will combine completely and create one sort of flattish new color, whereas the dryer it is while still being wet. The more actual of that feather effect you'll see because the pigment is actually, um, skidding across the top of the wet area. I like to go back with ridiculous, which I'm doing now and add very fine details. Very, very fine lines again to try to represent the fact that there are layers upon layers off pedals. And here is a flat lay of what that version finally looked like. And this is a better depiction of all of the different colors that I used from the Reds to the pinks, to the oranges to the yellows. So now we'll move on to my version two, and I will actually put it at four times speed. So I start with my stem. I'm adding those very small pedals. Sorry, those very small leaves that air underneath the bloom itself and then for this version. As I create the ridiculous blossom itself, I will still start in the center and continue to move outward and create that variety of small strokes and large strokes, depending on how much pressure. I'm adding to my brush. I'm staying with much more water in this version, so it's going to be much more pastel e as it continues to dry. But I'm essentially using the same techniques. I'm sometimes wedding my brush and actually applying that large stroke and having it touch and existing stroke so that there's some mixing of the colors around the edges. I'm sometimes going back into the center to add some finer lines toe, create that sense of layers upon layers of petals. And then I'm also adding a little bit of the pop of pink in some areas for additional interest. And here is what that version finally looked like, much more pastel in color. Here they are side by side, and you can see I used all of the same colors. It's the same color palette, but they look so different because in one I used a lot more water to achieve that pastel effect and sort of washed out effect. Where is in the other? I used a lot more saturated color and as a result, got something that's much more vibrant looking as we wrap up this lesson here is a 32nd video that I posted on Instagram that shows my process of creating a ridiculous I'm using all of the same techniques that I taught you in this lesson. The only difference is the brush that I'm using is the number 12 from the Princeton Neptune Siri's. It's got that really fat top, which allows me to make even fatter strokes. And that's what these final versions looked like. So please post your work in the project gallery. I can't wait to see your versions. I did. I think I did about five, and I will see you in the next lesson bye for now. 8. Wrap Up: Thank you so much for taking this class with me. I'd love to make sure that you know about the other classes that I teach here on skill share. If you enjoyed watching the video that I included at the end of the lesson on the Rin Oculus, please check out my class called Create awesome videos. In this class, I teach you how to create your own behind the scenes videos and post them on social media. Use them in your marketing or just share them with friends. Also, if you'd like to turn your artwork into art prints, I teach a class called Create mixed media art prints. In the class, I demonstrate a mixed media technique. But then I also teach you how to set up your own shop on Society six, which is a print on demand company. And you can turn your artwork into art prints and also have it printed on a variety of other products that they carry, such as bedding, tabletop and notebooks and mugs and over 30 different products. My most popular class is called from sketch to wrapping paper, and in this class I showed you how to take sketches turn them into a repeat pattern and finally order your very own wrapping paper. And the feeling of that you of joy that you get when you receive your very own wrapping paper with your art on it is unbelievable. It's very hard to describe, and here's a picture of me with my latest delivery. Finally, please give this class of thumbs up if you enjoyed it so that other students will be able to find it. And I would love for you to follow me on Instagram. My handle is at an LA fall it art, and I'd also like to personally invite you to join my private Facebook group and art club. All you need to do is go onto Facebook and in the search bar, enter and our club and then just click join. I would love to see you there. It's a wonderful, supportive community, and I'm live in the group every Wednesday at noon Pacific Standard time, so you can have direct contact with me and ask me anything again. Thank you so much for taking this class. I hope you enjoyed it, and I hope to see you in another one of my classes real soon. Thanks again so much and bye for now.