Watercolor & Graphite: 5 simple floral designs | Jen Sweeney | Skillshare

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Watercolor & Graphite: 5 simple floral designs

teacher avatar Jen Sweeney, Watercolor, Calligraphy, Cycling

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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

20 Lessons (2h 43m)
    • 1. Intro & Welcome!

    • 2. Class supplies

    • 3. Pencils & blending review

    • 4. Leaves & branch - Part 1

    • 5. Leaves & branch - Part 2

    • 6. Leaves & branch - Part 3

    • 7. Leaves & branch - Part 4

    • 8. Floral stem - Part 1

    • 9. Floral stem - Part 2

    • 10. Floral stem - Part 3

    • 11. Daisy - Part 1

    • 12. Daisy - Part 2

    • 13. Daisy - Part 3

    • 14. Sunflower - Part 1

    • 15. Sunflower - Part 2

    • 16. Blue thistle - Part 1

    • 17. Blue thistle - Part 2

    • 18. Blue thistle - Part 3

    • 19. Blue thistle - Part 4

    • 20. Thank you & Class project

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About This Class


Designs that combine watercolor & graphite are full of character and charm. Not to mention fun to create and beautiful to look at! I'm all about simple designs that pack a punch! You create these designs with me in real time as I demonstrate and explain every single step and brushstroke. Here's what else you get in class:

  • You learn 5¬†elegant¬†designs¬†
    • Leaves
    • Floral stem
    • Daisy
    • Sunflower
    • Blue Thistle
  • Handouts included - Located under the "Projects and Resources" tab
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    • You don't want to miss these!
  • I'm notorious for¬†explaining exactly how you hold, angle and maneuver your wedge (or triangle) brush to achieve gorgeous brush strokes
  • I use a Beste Fountain wedge brush but you can easily substitute your favorite round brush for the leaves and/or florals
    • A triangle or petals brush is awesome for class too
  • You learn how to keep your pencil work simple, striking, and effective
  • Learn how to use a blending stump and tortillion for soft beautiful tones¬†
  • Minimal supplies needed (see below)¬†
  • You use a limited color palette & use what you have. Colors do not need to be exact
  • No¬†stress about difficult compositions
  • You will be able to use these 5 designs as stand-alone art pieces or to enhance other projects
  • At the end of class, you'll have 5 new designs to enhance your creative¬†portfolio
  • You'll also have the knowledge & skill to continue creating endless watercolor & graphite art pieces

Class Supplies:

  • Watercolors: Your choice. I will be using some or all of these: Quinacridone red, Neutral tint, Quinacridone gold, Perylene green, Yellow, Violet, Cadmium red light, Ultramarine blue (deep shade)
  • Signo Uni-ball white pen, White gelly roll, or Dr Ph Martins Bleedproof white
  • Watercolor Paper: Canson XL cold-pressed watercolor paper or Arches cold-pressed watercolor paper, 140#, (or your favorite watercolor paper)
  • Bristol smooth surface (optional)
  • Brushes
    • Wedge or Triangle Brush (any size) - I typically use an 8 overall and a 6 for smaller areas
    • Small round brush (size 3 or 4, or similar)¬†
    • Large brush (only used once for a background watercolor wash)
  • Graphite Pencils: I use General Pencil Co (Kimberly) pencils (H, HB, 2H, 4H, 2B, 4B)
  • Eraser -¬†Kneaded eraser¬†and others I like are Tombow Mono Zero eraser and/or Staedtler
  • Pencil sharpener, as needed
  • Tortillion or Blending stump (however, you could use a Q-tip, clean eye shadow brush, small stiff paintbrush, or edge of tissue or paper towel)
  • 2 water jars
  • Tissues or paper towels

Looking to purchase a Wedge, Triangle, or Petals brush?

Meet Your Teacher

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Jen Sweeney

Watercolor, Calligraphy, Cycling




Hello! I’m Jen, a watercolor artist and calligrapher living in Ohio with my husband. I used to be a Pediatric Nurse Practitioner but now, I'm pursuing my art full time and have become completely smitten by the world of watercolor. Perhaps, like me, you didn’t go to art school, but you have a deep passion for creativity. My absolute favorite tool has been the wedge brush (or closely related, the triangle brush).  Maybe you have one, and know a few strokes, but eagerly desire to fully unleash the artist within. If so, allow me the privilege to walk alongside you and demonstrate, step by step, the versatility of this br... See full profile

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1. Intro & Welcome!: Hi and welcome to the watercolor and graphite class, where you'll create five beautiful designs from start to finish. I'll give you the full rundown of all the supplies you'll need. If you don't have a wedge or triangle brush, no worries. Use your favorite round brush for the florals and leaves. Remember to print those handouts. You can find those under the projects and resources section. You'll learn what those letters and numbers mean on your pencils. And we review shading and blending techniques. With each design, we start with a blank page, and I take you through every step to get you to a beautiful finished piece of art. For the florals, I'll use my favorite wedge brush, but here is where you can substitute a round brush. Graphite just gives your watercolor a beautiful soft appearance. You'll learn simple blending techniques that can be applied to other art projects too. This class is designed for all levels, but a basic understanding of watercolor is helpful. Classes relaxed with an easy pace so you can follow along, see exactly what I do and create these designs in real time. I only speed up a few sections that are repetitive. The vibrant colors of sunflowers pairs perfectly with the rich deep graphite. And you may think this blues this, so it's complicated, but I break down everything step-by-step, stroke by stroke. And the gorgeous pop of watercolors. All you need to make this jump off the page. And throughout class you learn effective details and tips that make your work stand out. Hi, I'm Jan. Thanks for being here and spending your valuable time in class with me. So this is my 10th Skillshare class, and I think I say this every time, but I had a fabulous time creating this for you. I can't wait to share these tips and techniques with you. By the end of class, you're going to have five beautiful designs. All right, so grab your supplies and I'll meet you in the first lesson. 2. Class supplies: Alright, let's talk about supplies you're going to need for class. Grab your wedge brush. If you have your triangle brush, that's this green one here, or a petals brush that's gonna do the exact same thing. The cool thing about this class as you can certainly substitute a round brush if you don't have a wedge or a triangle brush. The round brush, however you like to make your leaves and florals, you can certainly adapt for these designs. I have a smaller round brush to for dropping in some water color. And then the size 12 or attend whatever you have. I just use that when we do a watercolor wash for the daisy design erasers couple here. I really like this kneaded eraser and it's so good when we're doing pencil work. So this is a good one. I also use this eraser and then this Tombow Mono Zero arrays are really like this too for those little tiny spots we need to get into pencil sharpener. And then Pencils. Of course, there's a gazillion, different options out there. But I have just really enjoyed using the general pencil company pencils that Kimberly series, and I just stuck with them. So I just really like them. Tissue, paper, towel or a rag, whatever you use to clean up the messes are dab your brushes on handouts. If you can print those before class, go ahead and do so. That would be helpful because we will go through these page by page almost as we go through the designs and they're just nice to have close by for reference. If not, don't worry about it. This masking fluid, the Dr. Ph. Martin's frisk get Mask Liquid. I really like this a lot. The level 2, it's thinner than the level one and it just goes on really nicely with a ruling pen or an old brush. You can do that, but I don't use this much in class, but it is an option for a couple of the designs. Paper we've got Canson, watercolor paper, arches, watercolor paper. I do recommend a 140 pound or don't do a ton of washes and we don't get the paper really, really wet, but I just really enjoy these papers. The Bristol smooth surface. I just have this as an option sometimes that one is fun to use as well. My little sandpaper here, you don't need to have that, but that's how I sharpen my blending stump. So if you have some blending stumps or these little towards civilians, these are a ton of fun to use and we'll use these a lot in class. If you don't have those, grab a Q-tip, that's a good substitute or a stiffer brush, just something that's going to be able to blend your pencil and old eye shadow brush. You want to make sure it's a clean one. But those are good substitutes. Your palate. Have that ready to go and then the colors, Let's talk about that. Again, doesn't have to be the exact colors. But what I'll be using specifically, the quinacridone, red, Daniel Smith, neutral tint. This guy is really strong so you don't need much of that. One of my most favorite greens, perylene green by Winsor and Newton. I really like this green gray by Holbein as well. Now the Indian yellow, this is a set that was my dad's, I just love it. So I'm using the Indian yellow, the violet, and the ultra maroon, ultra marine blue deep from this set. Actually the cadmium red light to, but then the quinacridone gold, that is Daniel Smith. So whatever you have, feel free to use if you can get them somewhat in this color range, that would be great. We also have some bleed proof white. Again, one of my most favorite things to use. Or you can use a Jelly Roll pen or this uni-ball signal, uni-ball white pen. Just for a little bit of highlights that we'll be doing. Water jar, cup of water jars close by. And I think that is it for supplies. All right, so let's head on over to the next lesson. 3. Pencils & blending review: A little bit about pencils and our blending tools before we jump into our designs. So I don't intend this to be an exhaustive review, just a general guideline and some tips and suggestions that might help you along the way if you have no experience with shading and blending. When I first started pencil work and I go to the art store to get a pack of pencils. I was a little bit overwhelmed because they're all listed with letters and numbers and I really had no idea what they meant. So walked away a little bit frustrated, did a little bit of homework and came back and found a few that I really enjoy using. So the HB graphite grading scale, that's going to determine the hardness and darkness of your pencils. The H stands for hardness. And the higher the number next to the H, the harder the pencil is, which also means less graphite left on your page. And because of that, it's going to give you a lighter, softer appearance. So that in and of itself really helped me. And the B stands for blackness. The higher the number, the softer it is. So that means more graphite is going to be left on your page, and that's gonna give you a black or darker appearance. And the good old HB pencil resembles the number two pencil. Okay. So what I typically have been using the H, H B to H for H2B and for B, that's these six right here. Okay? Honestly though, if I just used maybe the HB, the 4 H, and the to-be, that would be enough to get me through the designs and what I need for my pencil work. So don't feel like you need to break the bank by everything out there and experiment with all of them. Just get a few and see what you enjoy using. I've given you some examples of some shading techniques down here. I'm not gonna go through these specifically right now, but as we do our designs will use a mix of each one of these, but these are fun to practice and get to B and get to be familiar with. All right, so what's the big deal with these blending stumps in tortellini? Some pros and cons for each. And these are relatively inexpensive, so grab a few, see what you like, see what you prefer. I'm finding I'm liking the blending stumps a little bit more than the torts millions. So these, this one here made of rice paper, I'm not as happy with these is I am this one and I honestly don't know where I got it. It's harder. It's a little bit better tip. But I just I like this one. I'm having a hard time finding it. This was just one I picked up at the craft store. It does the job fine. But this one was just a little bit more sturdy. So the blending stump, we'll start with that tightly rolled paper with tips on both ends. I like these because they just feel sturdier. They are good for large areas and best of all, I think it gives nice consistent shading. I use it as a pencil. Either up, you know, maybe 45, 65 degrees. I can use it on its side a little bit. I tend to do light pressure because I'm not doing pencil work. That is, you know, an entire eight by 10 or larger all pencil. What I work, the area I work in is really pretty small. I use linear strokes, circular motion with it, but I do use a light hand with it. I have this little sandpaper tool here. And if I need to sharpen it or get some of the graphite off, I just kind of roll it gently, grab a tissue and then just wipe it off. Okay. I don't typically do that with these. And again, these are pretty inexpensive. And once the tip is gone and I'm not happy with how it looks anymore. I tend to just throw it away and use the next one in the pack. Okay? So speaking of these, these are hollow on the inside, but they do work really well for some of those tight little spaces you need a fine tip to get into. I've given you some examples down here. So it's a little hard to see, but with the blending stumps, like I said, I feel like you get a little bit more consistent shading than you do with a torch million. If you can see some of these lines remain after you've done some shading, which is not a bad thing. Sometimes I need that and prefer that because a lot of times they'll go back and forth with highlighting and darkening the edges or adding some more lines in there. So again, there's, it's totally personal preference what you want to use. Let me show you a little example. Right? If I grab my HB and I do a very quick floral center, I'm not gonna do the whole flower here, but just to give you an idea of what, what the shading looks like with both tools. Just do a quick pedal. Couple of them here. And if I grab to be and just do a very light shading down here at the base. You'll see throughout class you really don't need to overdo it with the shading. So this is a to B. We'll use the stump on this petal and the tortilla million on this one. So I tried to remain fairly consistent with my pressure and the area that I'm covering. So if I grab my stump and the pressure I would say is about medium and I'm just doing some linear strokes, pull in that graphite out, can do some circle motions. I tend to stick more linear though. And I can go deeper on the pressure. All right, so that's the jump. And then if I grab the tortilla million same motions, I don't really do circular motions with the torch Italian, trying to keep that point. And I don't want to dig it into the paper too much. But if you can see down here at the bottom, you can see these original lines a little bit more. Then with the stump. That's like I said, that's not a bad thing. It's just to be aware that there's a difference there. Now if I took my HB and if let's do another petal here. So that's just my HB. So like I said before, you don't need to break the bank and buy everything. You could do all of this with one pencil. I grabbed it towards million. Sorry. No, not that tortellini and this is the stump. And just pull in that graphite out. There's not a ton of difference in actually, I do prefer shading with an HB sometimes. Remember it's going to be, your h is going to be lighter and the B is darker. So the HB, mimicking the number two pencil. I feel like it almost gives it a little bit of a shiny appearance, which I like that. And then grabbing the kneaded eraser. We can go in there and lift areas that we need. Pulling it out into almost a point, but not necessarily. But you can lift a lot with this kneaded eraser. And the other way I'll do sometimes is I'll roll it. Pretty good pressure on there and you can see how much lifts off your page. A little bit harder with the arches because it's the two, the're texture and the graphite gets down into those little valleys. But if you're just not happy with something and you want to do it over, you can roll and dab and you can just really get it to the point that you're happy with. We do another petal here. This is just my HB pencil. And we'll just shade with this. Well, I've got it in my hand. It's aren't the best petals I've ever drawn before, but that's not the point. So if you want to grab a Q-tip, that will give you some blending, two nice soft blending doesn't have the fine point on it. But if in a pinch, you need to use that. Totally works. Same with the clean eye shadow brush. I have used a stiffer paintbrush and the past two when I've run out of blending tools. And that definitely works. Alright, we'll get into a whole lot more detail about all of this as we do our designs. So let's head into the next lesson and we're going to work on some leaves. 4. Leaves & branch - Part 1: Alright, painting and drawing leaves one of my most favorite topics. So for this lesson you're going to want to have your wedge or round brush pencils. You're blending tool. I'm going to be using perylene green by Winsor and Newton, but whatever green you have is totally fine. And for this one I'm going to use Arches cold press 140 pound. So I've given you a few tips and suggestions here. I won't read through all of those word for word, of course. And then some options as well. I thought for class what would be easiest this time is to just go ahead and make a branch together as opposed to doing each little piece separately. I'll explain everything as I go along. But just to take a look. So the two typical ways I draw my leaves, I've got some jagged edges, some darker areas than others. Or I just do a very, very simple, smooth edged leaf. Sometimes I like to do a little bit of a turn and twist, that'll give it some nice movement. So on this one over here, if you're familiar with the wedge brush, you can recognize right away these strokes are made with the wedge brush. This one's a little bit more compact than this one where I let more whitespace show and just letting it breathe, doing some random painting in there and then some with some shading and blending. But then this one down here, all I really did was just darken some of the outer edges of the leaves. And I only shaded the branch here. So I think that gives a nice dramatic look as well too. But like anything, a million and one options for this design. All right, So just grabbing a small piece of arches and my HB pencil, the way I start this, some of this out of my way here. We'll do a branch that starts down here and goes up this way. So this is our direction. So like I said before, we want a branch in the leaves that are going to go in the right direction of flow. How I typically start and I'll use my pencil when to pull back on it a little bit more so that you can see. So just starting to sketch in giving it a little bit of angled movement here. So I go up, come over a little bit and go up. That's about all I do for the first part of it. And then down at the bottom, I always like to have a little bit of a notch so that I'm just making a curved area, a little bit of an arc. And then I'll go back up and follow pretty much the same line here. Now I could leave a space in there where I'm going to have another branch or stem come off the main one. But sometimes what I'll do is I'll just go ahead and follow it all the way up. And a little bit thinner as I get to the top here. And I might take my pencil or not my pencil, my mono eraser. Take some areas out where I want to have additional branches coming off this main branch here. So I get down in there and just add a little bit thinner as we come out. The farther we go. And there's plenty of times I'm going back and forth in erasing and adding just to see how it looks. I'm not working off a reference. I'm just trying to visualize what what I want to put down here. Light pressure with my pencil. Angle, this one a little bit. I'm going to shorten this a bit. All right, so that's enough to get started. So what I'll do is just start adding in some leaves and I pretty much just watch it as I go, change it as I need to start down at the base here and we'll just gonna do some jag. It leaves 30. No, I want another one coming this way. 5. Leaves & branch - Part 2: I'm really happy with how that looks. Lots of erasing back and forth. Try not to be too particular in the beginning, but it is hard sometimes to not correct everything. But just let's get some leaves in here and then we can adjust it as we go. Turning your paper as you need to. What I'll do sometimes as well as erase this part here and just have a leaf that it's separating the two parts of the branch, the main branch there. So then I start going in and just darkening a little bit. Still just have my HB right here where this little notch is where another smaller branch comes off. I always dark in that area. Right on this side here too. Gently skipping. I'm not being exact. I like that less perfect look. Here's a good spot to darken. Anytime you have a little bifurcation like that, That's a good spot to darken. Sometimes I'll make another little arc down here at the bottom. Kind of looks a little bit more of a notch or make it even a little bit more pointy. And I will darken one side more than the other. Just short little dash type strokes. Again, just with the HB. I haven't even gotten any of the to be or the four B that I typically use. Just like to see it come alive as I'm doing it. The other thing I want to point out too is this center vein here. Sometimes as I'm sketching it, I don't get it in the exact spot that it needs to go because again, that directional flow, it needs to go in the correct spot. It would not look good. If I did it like that. That doesn't look like a natural placement of a leaf. It looks like it's flipped upside down and wouldn't grow that way. So just be careful where those center veins and up. And I should be brushing it away with a tissue. Want to keep your fingers off as much as you can. So this is where I get a little caught up and doing some of the details before I really should. And I'm just kinda stepping back and looking at it and see and if I really like the placement of everything right now, things that catch my eye, I go ahead and try to take care of try to make that a little more pronounced there. Go on and do 1101 here. All right, if I grab my four h, The way I do the leaves that turn or flip. So where this point is here, I just extend it so you've got your are gone this way, just extended a little bit more and then come back to meet this edge, okay? Following this arc from the tip, extended a little bit more and then come back on this edge. Same way with this one here. Following this edge, there's the tip. I extend that tip, come back to meet it on the other side. Can do that here. Just an easy way to add some interest in motion to your piece. We'll do it down here too. My four h, if I grab the to-be, can see right away how that darkens it a whole lot better. All right, so we'll leave that as is for the moment. The next thing I wanna do is get some paint on a few of these leaves. So I've got my perylene green, I need to reactivate that a little bit. I've got two water jars off to this side, one for clean one for dirty little bit water a little bit in there. Not too much. Just don't need much for this. 6. Leaves & branch - Part 3: All right, so using a different brush than the one I just activated with, I just have a size the re getting it wet with clean water and make sure it is clean. So a couple of ways that you could do this. You can do wet on dry or wet and wet. What I'm gonna do is wet and wet. So just getting my brush with clean water and we'll just pick some random leaves to paint. I'm gonna go ahead and just lay down and right over that pencil. I'm not worried about that. And get it pretty close to the edge. And you can even be really irregular with it and go outside the edge. Not a big deal, whatever your preferences. So I don't want any puddles there. So with just a damp brush, I can soak up some of that water. Now grabbing some paint, I'm just going to dab some n and to have, and to keep a soft edge. I'm going to try to keep it within where I lay down the water wash. Don't have to be perfect with it. And while it's still wet, if I add a little bit more concentrated pigment, just for some contrast. That's the look I'm going for. So we'll do that on a couple of other ones. Just clean water right to the edge, and then dropping the pigment in within that area. So you maintain some soft edges and just be kind of carefree with it. Be random. I know it's a little tighten these spaces. So some back up with your brush, whatever you wanna do. I tend to keep some more concentrated pigment down at the base here. And you can always go back in and do another layer if you need to. Not totally clean water there, but that's already do that all the time. Let's do this one. And just looking at your paper, lifting it, catching the light, you want a nice sheen of the water there, like I said, not a puddle. And while these are still wet, if you want to get back in there with your concentrated pigment, you can do that. One is about drawing. I think this one is kinda dry. We'll let that go. And you could wet a couple of leaves at a time if you want. I'm just on one by one. It's too much damp brush. Just get in there and soak sum up. This one was kinda drying down here so I could just with a damp brush, move it along a little bit, tease it out. Do you want contrasts? You don't want them to all be the same. Barely touching the paper with my brush. Kind of little spot there, there we go. I keep thinking I'm getting them then it stays off my brush. Now if you lay it down and you're like, Oh my gosh, that's way too much. You've got time. It's still wet. You can get back in there. Let's do a few more. Okay, once this is all dried, I could go back in, re-wet it and add some more if I wanted to. But I think you get the idea with that for sure. So I'm gonna grab my Tooby and I'm just going to be careful and try not to touch the pain, but just get a little bit of shading in here then we'll blend it out. This is a process that will force you to be patient, which is a good thing. We need that. And I typically just do at the tip and the base initially, maybe a little more over here. Now with this part flipped, I tend to keep that white following the contour of your leaf. Pencils or so forgiving. It's not like when you lay down watercolor and you go, Oh, just grab your eraser if you don't like it and redo it. But I love this look of graphite and watercolor, especially with this green. You got to pop a color and then you've got this very neutral looking area. I just, I love it. 7. Leaves & branch - Part 4: And then I'll just start darkening a little bit. I want to get back in and blend it. But again, my eye is just going to things that I see. I'm pretty much a squirrel and just all over the place sometimes keeps it interesting. Now, this one, I didn't quite get the leaf so you can make little v shapes. So it's not just one straight line. Stick and right into your leaf. Okay, let me grab my blending stump work and on this, pull on it out. And as you get graphite on a tip, obviously it's going to be like a pencil almost and you can shade in other areas with it. See I jumped from the branch to the leaf all over the map. But I'm one that I wanted, I want to see it. I want to see what it's gonna look like because I tend to just I have plenty of phases through my process where I go. Oh, I don't know if I like it. Should I get rid of it or should I keep working on it? Best advice, keep working on it. At the end of the day, even if you don't like it, you learn something. Definitely come back after a couple days and look at it. And I bet I bet you've had those situations where you're like, Not too bad or like me and you go, yeah, no, we gotta get rid of that one. But you do, you'll learn plenty through your mistakes. If we're even going to call them mistakes, it's all part of the process. I have some medium pressure I would say. And I I am just gone pretty quick on this. I'm not being super particular that I think I like it so far. Okay. We'll leave that as is. I'm going to grab my tube again and then definitely want to darken some areas, the leaf edges. If it's all one tone, it looks flat. And I'm not even worried if I'm going outside the edge. I'm just skipping around the leaves, darkening some areas. Giving that tonal contrast that really pulls the eye in. This little leaf is a little wonky. So let's just get another little V-shaped down at the base there, pull it in a little bit more. But the irregularity of a piece really does give it charm and character, I think. Then people are going to look at your piece as a whole. They're not going to zone in and say, Oh my gosh, that looks terrible. They're going to look at the whole thing and if it's flowing well, then it's going to be very pleasing to the eye. All about balance and harmony. Can even add a couple more darker lines on some of these leaves. Do on some dots or dashes. It's going to add some interest. And you could grab a six before b or something. But just since I have it in my hand, I'm just putting a little bit more pressure on it. Using dashes here. Essentially, as I'm going back to highlight some of this darkening that those notches, this is a little thick right here, but I'm not going to worry about that. I would take the tortellini a little more blending. What do you want some of that whitespace to on your branch in your stems? All right, one other thing I'll do sometimes is just grab a micron pen. And if I want even more highlights, kind of this same technique, dashes and kinda skipping. And might not really do that branch area, but I'll do sometimes the leaves the outer edge and just really random and even going outside the pencil line to give it some interests and not sure if you can really even see that, but that this is an option. And it doesn't have to be every leaf. Can use that for your dots. All right, The last thing I love to do is a little bit of splatter. So taking my number 3, get back in the perylene green in it fairly wet. Now I practice this on another page because I've done it before where it's just a big old blobby mass. So getting my brush loaded, get my piece out of the way, and then take an a pencil or just something else. Tapping some of it off there. The splatter effect. A little more. Alright, I'm gonna leave this piece as is. I could certainly get back in there and add a little bit more contrast with the leaves, with the green paint, I could add some more edges around the leaves to highlight them a little bit more, do a little bit more blending, but there's a barrier that you've got to say I've done in just stop and walk away. Alright, we're gonna go work on a floral branch next. So I will see you in that lesson. 8. Floral stem - Part 1: All right, Next up we have our floral branch. We're going to do a smaller version of this. This is the one that's on the cover of the handouts. And I realized that the leaf portion of this got pretty long. I hope you are able to stick with it, but it did encompass a lot of the fine detail. So we're going to move a little bit quicker through the next couple of designs. What you need for this one, your wedge brush, I've got a size six and an eight here. Now if you want to use your round brush for the florals, that's totally fine. But for this part, I'm just going to be using the wedge brush. Grab your pencils, your blending tools. I've got my quinacridone red over here. We're going to mix it with a little bit of neutral tint. I've got my yellow that I had from my dad's palette that was the Indian yellow. I pulled a little bit out and have it over here. And then the quinacridone red is here. So why is this piece of paper sitting in my green? It's because I typically dip in the wrong well, a lot of time. So that's just an easy way to keep me out of that. Well, all right. So put this off to this side. I know a lot of you know how to do these florals, but I do want to move through each petal with you and show you how we do that. So in the handout to be clear, just want to explain this a little bit. Where this dot is, that's where my brush tip well-being. And this arc here shows you the direction I'm going to use or I'm going to wiggle my brush around. So I'm starting my brush tip here and I'm going to keep it stabilized. And I'm going to wiggle it around. That's all I do for the first petal. I repeat that process for Petals 2 and 3. And then for these little petals down here, I'm using the brush pretty much on its side. The point of the brush is about nine o'clock in the wedge is facing up at about 11 o'clock and I'm just laying the brush down, swooping it a little bit across the page. Now. Okay, Now this, we're going to do it this way today where I dip the brush tip into more concentrated pigment for a darker center. But we'll go ahead and do this branch or something similar. All right, so I'm gonna grab first my size six. And I like to just neutralize this quinacridone red. A little bit, like to tone it down. So we'll pull some out, put it in this main well here, and allow more water. And then just a touch of neutral tint to purpley. So there's no right or wrong here. You can just mix up whatever color you want. I like to tone it down a bit. And neutral tint is really good for that. It's a lot of back and forth. All right. So if I grabbed my size eight when just getting it nice and wet. Sure. It's clean. All right. So just a wet brush. I dab a little bit of that wedge portion off because it holds a lot of water. And then I'm just going to dip in this now this is pretty watery. I want to just see how it works with these strokes. So point is going to be down about six o'clock and I'm angling the handle of the brush up around 10, 11 o'clock. Lan the brush and just wiggle it around. Still pretty watery there, but that's the stroke we're looking for. Now. Get into this a little bit more concentrated pigment here and show you what that looks like. And what this Canson paper I can usually get all three strokes. Sometimes the arches really sucks up the paint and the water a lot and I have to reload a lot. I do like how that looks there. Not a little bit thicker. One is pretty watery over there, so next up a little more. All right, so the way I like to do these branches, for the most part, I'm going to do just a couple of florals, and then we'll add the stem and the leaves in. So I'm gonna go ahead and fully load this and just dip in the concentrated pigment there. This kind of bright, that'll be fine. All right, so I'll just start right down here. One to leave a little bit of open center there because that's where the yellow is going to go. And then for these other leaves or petals, I can tell I still have pigment on my brush, so I just lay down a few sweeping strokes. Rinse my brush. And I get just in here. When I have a little bit different tone, I'm going to dip the tip. The tip in. Concentrated pigment will go up here for the next one. I'm not using a ton of pressure when I'm laying down these strokes. So right now if I felt like there weren't there wasn't enough water and pigment on my brush. I could just don't get in the water. Scrape it off the edge, and then lay down some more here. Unless you're fully rinsing your brush are always going to have a little bit of pigment left in there. All right, so now I'm just getting clean water on my brush. Dab it a little bit, and I'm just gonna go right back in here. Just with the tip. I want to get a little bit smaller. The higher up I go. So I can switch out and get a size six. That way it will definitely be smaller the higher up I go. And you can hold your brush more perpendicular to, to get smaller, smaller florals. My hand is not on the table right now because I'm holding it a little bit more perpendicular and it just I go back and forth to do that. Either I rested on the table or I keep it off the table and see some of that dry brush right there. So I'm just going to dunk it in the water, drag it off the edge. And really faint little strokes. And I'm just using the tip or the wedge portion of the brush. Let's do one more. All right, those are drawing pretty quickly, so I'm gonna get a smaller, I'm going to grab my number 3, reactivate some of this yellow. And this super, super simple, I'm just dropping in a little bit of yellow here, sometimes off to one side. But just enough to give it some contrast. Now I would let that fully dry and then we're going to add in a little bit of quinacridone, gold underneath that yellow. 9. Floral stem - Part 2: Okay, Now that that's dry. Same brush the size 3. Take a little bit of that off and just dab in a little bit underneath that yellow. As that is drying, we can get back in and add some details on these petals. So if I mix this up a little bit, I have my size 6 wedge. And I'll flip it sometimes and I want to add just a few. I'll start down this way. Stiff few lines following the contour of this petals. Have to do this part if you don't want to. That one I might leave alone, That's pretty light. S1 is to add a little bit. You could outline the petals with micron if you wanted to walnut ink, Sumi ink, leave them as they are your choice. But just sometimes little subtle highlights will really pull that in and it just adds just enough. Could even do a couple coming this way, but you get the idea of highlighting. So I do want to add a little bit more of the quinacridone gold felt like that got a little lost there. We could even extend some of that yellow too. All right, We're going to let that fully dry and then we'll get the stem and the leaves in there. Right now this is dry. What I typically do is just start sketching where the branch is going to be there. And we just build this up is we go hello notch down there. Make that a little bit wider. I'll tighten that area. That's all right. What is build it up? Where the bottoms are here. You want to make sure that it's gone in the right direction. A little wider. Perfect spot for another branch to come off or add some leaves here. We could add another floor or a little, but if you wanted to. And we'll just start filling in the leaves, add another little one here. Extend that out. To save time. I will speed through some of this one. 10. Floral stem - Part 3: All right, Now I'm gonna grab my Tooby and we'll start darkening some of this up and get in some shading and blending on these leaves. So it's a little bit tight area here. I'm doing these little dashes. Pretty much just on the right side. Highlight that notch a little more. You can just extend that out too as you're sketching that in. Mri can always go back and add more if you need to, or just erase it away. And do a little blending. Pretty good pressure here, a little bit more than medium. Just really blend that out. And remember if you need to take your eraser, It's too much. Pull some areas right out. Now another option would be to add some green to the leaves as opposed to just keep them all pencil. Whatever you choose to do. However you want to add these little pops of color. Alright, so for this one I've got my four B and I'll go ahead and just start shading and will blend it out. And I will probably speed up this one too. Now an option 2 is you don't have to do any blending. I like how this is a little bit rough looking compared to the softness of the florals. So it's just in the eye of the beholder, really the look that you're going for. But don't be afraid to experiment with new things and to just kind of sit with it a day or two and see how you feel about it. All right, So my use the little torts million for this one and just start blending from the top down. And I think this for B is really plenty dark for what I want. And I have seen some beautiful pieces of art, really dark pencil then the dark contrast and oh my goodness, just so gorgeous. But for this size and look at the four B is plenty. I think. Tend to pull towards me for the most part. A linear strokes. Pulling and pushing, I guess it would be fair to say pushing a little bit out. It just depends on what what is most comfortable. Moves out paper around. So it is comfortable for you a little bit there. I think if I went back in with a stump, soften it even more. Maybe not all of them. And see what it looks like just to pull a little bit out. Getting some highlight areas on your leaves. I don't want it so dark. I don't think that it's going to take away from the soft pink flowers. Enough contrast of dark and light sweat you're going for. All right. I think we'll call this one done like the other one. If you wanted to go back in and add some splatter, highlight the petals a little bit more, add some more detail to the leaves. Totally your call. So have fun with it. When you're done with this one, head on into the next lesson, and we'll get going on our daisy. 11. Daisy - Part 1: All right, so next up we're going to work on our daisy. Here are the supplies that you're going to need. I feel like I'm getting a little bit repetitive of what we're going to be using. The only reason I would use this signal unit ball or the bleed proof white was for these leaves down here. I just added some white in there. I don't always use that when I'm making this design, but just to let you know that's what that was for. We'll use Canson watercolor paper. And you know, technically these leaves are not really Daisy leaves. The daisy leaves have more of these skinny little squiggly kinda leaves. You know, they're real soft and airy looking. So maybe we don't call this a daisy, we just call it some kinda fun flower with really fun wedge brush leaves, whatever we want to call it. So I just wanted to let you know that this technically is more what a daisy leaf looks like. Alright, so the other thing, this deck old edge, love a decode edge. Easiest way to do that. I just take the paper, tear it towards me. Little by little. Might need to put it down on the table or on the edge and just pull it towards, you know, there's certain tools out there you can use. I've used a ruler before on the edge of a table. But sometimes just simple is best. Pull in the paper straight towards you. All right, set that off to the side for a moment. So quick review again with how these handouts work, where this dot is, that's where your brush tip goes. The arrow is showing you the direction of your brush. So this is what I call a two stroke leaf. Lay down the brush, which portion into the paper and then come lifting gracefully off the page. Land your brush here. You're going to hold your brush more perpendicular and squeeze around this side of the first stroke. Okay, we'll demonstrate that in just a moment here. And then this one, I'm my hands a little bit awkward position here that so the tip is pointing around one o'clock. I land their brush and I pull it towards me this way, lifting gracefully off the page. Okay, Same way with number two here. Land the brush down gracefully and lift up. Alright, so let me show you that on just a scrap paper here now I can take this out because I actually need that perylene green. So I get that activated. Okay, So not really go on for a big fancy look here, but just how much how that handout was working. Let me show you this way here. So the tip pointing about seven o'clock, this is a number 6 by the way. So I'm going to make it a little bit bigger. Landed, push the brush into the page and lift up gracefully. Had back to that same area. The brush is a little more perpendicular, landed and I'm gonna kinda just hug around that center there and left. Okay. I was going to come the other way. That awkward angle I just had tip is at about one o'clock, land the brush and I'm pushing it into the page and lift. I can leave it as is or go back in there, do the same thing and just hug around that side of the first stroke to leave that white area there. Okay. The other way too, you can do I've done it where I do a little bit of wiggle motion or skipping motion, just to give a different look. Doing it the other way to the cool thing about this brush. It is so versatile and you can just all kinds of ways you can use this brush to make leaves, wiggling and skipping it around. Okay. Put that off to this side. First thing we're gonna do is a watercolor wash on this, and that's where you want to grab your size 10 or you're 12 round brush and clean, clean water up that off camera here actually, you know what, I'm going to get a little bit more water in here. So you could sketch out where you think you're going to have your Daisy. Show you this here. For this one, I just, I just laid down the watercolor wash first and that's what we're going to go ahead and do today. So I know my leaves are going to be roughly around this area even if it gets up into the petals. Not a big deal. Okay. Not going for perfection. Remember? So clean, clean brush 10 or 12, whatever you have round brush, flat brush. And then I'm just going to lay down some water, extending it beyond the area that I really need. Remember, that's how we keep our soft edges. Plenty of water there. And probably even doing a little bit more than I need. So you can either use this brush, but I'm just going to grab my size six. Get back in my green and then just dab it in here, drop it in. And I'm right. And then I do this, do a little bit more. Not make it so perfect. They're perfect box. We don't want that. Remember it's going to dry lighter. Just drying off my brush a little bit and I'm just going to tease this around. All right, and we're going to just let that go. Let this dry completely and fully. And then we'll get back in and sketch in our daisy. 12. Daisy - Part 2: All right, now that this is fully dry and you can see how much lighter it is, we're gonna go ahead and sketch in our daisy and then add the stem. And I'm going to go ahead and just do these type of leaves here. If you want to do this, feel free to do that, that would be awesome. Put that off to the side. So I know I'm going to have my stem about here, but I do tend to start with the daisy part. Suggest Tappan this in a little bit, kinda angling it out this way a bit. And I have an HB, I'm starting with stippling in a little bit. Dashes, dots, just enough to get that down so you could do the circles. Little C shapes. Definitely don't get too carried away with it. All right now, but just a little bit at a time, and then we're going to start doing so. Looking at these pedals, you've got the wider area here. Coming off the base. It gets wider and it comes down not to a point. These are a little bit pointy are, but some of them are more blunted. So I'm kinda going for this kinda look here. Have some common underneath the petals maybe over top. What is kind of go with it and see what we come up with. And I tend to start at the base and come out. If you want to start down here. Certainly an option. Just lightly sketch in them in to bid in y there. So I want to have some of them shorter. This way. Can even have maybe one common over its top there. Maybe add another petal here, smaller one, another curved one. That and to give it a little bit of movement there. But dark in the sand with our Tooby or for me, just add in a little bit right now. All right. So that's all I'll stick with that. So where the center is, That's the direction that my stem is gonna go. So I'm just lightly sketch in that down a notch and then come on back up. Now I'll just leave a little opening there. But what? But I think I went too far on that. And we can always n Just a fun little notch or two down here. We can do that at the end. We want to get these leaves in here. So if I get my perylene green go on again. And I've got my size 6 wedge. When I have a little test page next to yeah. Dabbing at office, you need to. So I like how this comes here. Always loved to do a little leaf coming down this way. It's a little too far out too. So I'm using my hand is on the table and I'm just using about the top third where the tip is ln laying it into the paper and pulling it around. I'm not using the majority of the brush, to be honest with you, I do. With this small of an area, I really pull back on the brush. Alright, so I changed my mind on this here. When I have a leaf come in through this area. Sometimes what I'll do is just add a couple of little marks just like I did here. Not necessarily leaves, but it's just pull on that. I in I like to do that sometimes. And I just do a little flick of the brush. Now these leaves are looking pretty monotone, so I tend to get back in there and darken them a little better, at least part of it. Just using the tip is going to extend this, make it a little bit bigger here. All right, I'm going to let that fully dry and then we'll add in a stems and the petals. And we'll be almost done with this one. 13. Daisy - Part 3: Alright, now that these leaves are dry, this is where you could grab your bleed proof white or one or you're white pens and just maybe fill in a little bit of highlights if you wanted to. Just to bring some attention, not much at all. This one, it comes out pretty thick sometimes. So I go slow with this 1 first. And then if I feel like I want to add more than, I'll grab that one. That's enough for me right there. That's plenty. We'll just leave that as is. I think I want to add another petal up here. Let's try that again. So I have my HB and I'm just, I'm going to use this one for the outlining and the shading just for something different. I may change my mind, We'll see. And I like this wash. Kind of, I should say. This got a little hard edge over this way. Not the end of the world. That if I could have done it may be a little bit softer. I would have liked it a little bit, a little bit better, but live and learn, right? All right, so I am going to grab the four B for this center and really start darkening that up. And do that around the edges too just a little bit. And especially on these little ones that are tucked up here, we want to highlight those to make sure that it's known that those are pedals. She didn't have more shading where these petals are touching an overlapping kinda some of these, these little v's that come out doesn't have to be super pronounced. Enough. That pulls the eye again. All right. I'm going to grab let's do the stump on this one. Now remember this was the HB, which it's given me a lighter blend, which I like that because we got some darkness happening down here and I probably not probably I will use the kneaded eraser a little bit and pull some of that out. Still. Really should build this up a little more. Build it up and then take it off. Go back and forth. And what daisies to they have typically these long lines right down the center of their petals. Just use in skipping, dashing as pencil strokes. Just enough to give the impression that there's some of those veins there. This is where I'll grab the for-each, sometimes two. And go ahead and do it that way. Gives you more precise line. I still feel like it's a little too dark there. Even now I'm pulling some off from the center, highlighting some of these areas close to the center where the petals are overlapping, that will give good contrast. And get a little white line down the left side here. The right side we're keeping darker. All right, Just for fun, let's add some splatter to this one to y naught, right? Got my round three or more watery. Knew that for a moment, do a little test. It's pretty thick. To add a little bit more. And I tend to do in a diagonal, sometimes. Write sometimes to make these and stick out just a little bit more. Just get back in there that a to B right now. And just add some delicate tips. Darkening, just a touch at the end there. A little bit more out lift a little bit in that center area. And what this dark tips that will help lighten it a little bit. Just felt like part of that was too dark. A little better to me. Still would want to add a little bit darker center, at least on part of it. And keeping that this area open. If you've got a light source coming on here, given that contrast to all right. Tell me to stop, right. I think we're done. We're going to call it done. All right, Next design we're going to work on is going to be the sunflower. 14. Sunflower - Part 1: All right, Welcome back. You ready to do a sunflower? Before we get to that, I wanted to show you this, check this out. I was so excited to get this in the mail last night. I was hoping they'd come before class but they didn't. But they showed up last night and I was like, Oh, I can't wait to try these. I'm so excited. So we're going to try them today. All kinds of different ports, millions, I don't even know how to pronounce the name of this company. It's brand new to me. I don't know anything about them, but they looked fun and look at these blending stumps. Massive. Let's just pull these out. Take a look together. This guy is a whopper, Number 8. That's amazing and they feel really sturdy to and look how little it goes. I think. Oh here a number one and number two. Oh, I'm pretty excited about this, so much fun. And then these little torts, Italians, let me pull one out just to see how it feels. I haven't opened up to one and to do it with you all. Okay. Hollow. They feel a little bit sturdy. I like that. Good point. Got the numbers on, I'm here. All right. Very cool. Comes with a little case. And then of course the sandpaper. That's a lot of fun. Pull that off there. And that feels nice to. And then this is one of those tools that once it gets down pretty low, you can connected in there, tighten it up and use that just to hold it like a pencil. But this is pretty fun. I'm excited to try this with Hill. Work on our sunflower. I. Okay, so for this one, we're going to use our wedge brush for the petals, a round brush or an old toothbrush for the splatter effect. Your pencils, your blending tools, quinacridone, gold, yellow, and cadmium red light, which I've already pulled out and put into my palette here. Now I do keep these fairly thick, but we'll talk through that as we, as we do the design. And I do it a couple of different ways. I always bounce back and forth, whether I do all of the pencil work and then the pedal. It just depends. So kind of depends on the mood, how we're gonna do this one today. All right, so we'll recreate one like this. I'm not gonna do that calligraphy today, but that, that's a funds because it's curved like this. This is a nice spot to do some lettering down here. All right. So this I'm using arches, but I'm actually using the backside of arches. I like to use that sometimes It's a little bit smoother and I don't know, sometimes it just works better for me. Alright, so I have my HB. We're going to just start sketching in the center. I think we'll go about right here. We want it angled. And the centers, nice big centers for the sunflowers. That's not going to be the full circle like you see it head on face-on. Have fairly thick stems. Think I will just go ahead and sketch in the majority of the pencil part here. So I like to do some of these little squiggly leaves, I guess coming off the base of the sunflower. Given it some nice movement. I'll get back in and erase where these leaves are gone over that back part of the stem. Will try to do a phi. Remember a petal coming out this way. Let's just keep that open a little bit more. You can see there with my tissue, I did pull out some of that graphite. Say, Do you want to be careful as you do that? That's where this guy comes in handy. Okay. We'll leave that as is right now. And let's do a couple leaves here. Okay, I'm going to be using my size 6 wedge. Pull my paint and water jars off to the side. One clean, one dirty. I'm not going to put paper in these others. I think I'll be okay with this. All right, So getting in the yellow, I have Indian yellow. Get a test page here. So like I said, I keep these fairly thick. I tend to start down here too. That was on its side. Now if I do one on with the belly up, remembering that keeps some white space there. I don't want to curve this one around a little bit. I'm not too worried about all this whitespace here that some of that will get covered up by just laying down some of these first strokes. Tend to flip it around and then go over here. So I'm laying this is belly up right now, pushing into the paper. I'll even get in-between these guys sometimes too. And then just do a couple little carefree strokes. Hey, that's all I wanted to do with the yellow. I can get easily carried away with one color, but I'm going to layer a couple more on top of it. We want to let this dry. All right, this is drying pretty good, but sometimes what I'll use is this Chandler heat gun drawing tool. It's got to settings and it's perfect to keep in my studio just if I'm impatient and I want to get going on some of this painting. So it's got to settings. And if I just do on the one setting, that's plenty. So the next I get in to the quinacridone gold. And because this is such a rich color, whoops, that's pretty thick there. I keep it thick, maybe not quite that thick. Let's get this glob off to this side here. I'm going to clean my brush really good. I love that golden tone. That's just really, really pretty. So the same thing. Start down here and I'm not going to go over each pedal exactly, but just in-between. I forgot to put one of these petals coming in this way, so I'll just jump back in my yellow as I'm thinking about it. No, I don't always let that totally dry. And even sometimes when I have a little bit of gold on my brush, I just jumped right in this cadmium red light. And just get down at the base on some of these here. And then I'll rinse and it's a damp brush. I don't want it soaking wet because then you will get some back runs. But then I just pull that out a little bit. And then just taken the tip and pulling it out a little bit. We're not going for these perfect sunflower petals, given the impression that that's what this is. Super easy to overdo this. So I'm going to let this dry completely and then we'll come back and do some pencil work. 15. Sunflower - Part 2: All right, so let's skip that out of the way here. So I've got a four B and I'm going to start in the center here. This is going to be the darkest area. Now this is where I could have put masking fluid if I needed to. But since I'm just doing pencil here, I don't really need to, but it's an option. I'm just stippling in the center. Sometimes I'll try to do let a little tiny circles. You really can't even see that or see little sees. You want some white space there, can even go up a little bit into these petals. I'm going to switch to a tube. And just highlight, skip around just like we have been doing all class. Gets lost. See, like we talked before, how this vein is shooting straight up here. I need to get a little bit more. All right, Here is the big test. We'll see about the loops blending stumps here. How about, let's try this number two, we'll try this tortellini incense. It rolled right into frame here. Use both of these. Okay. Feels great. Ones really well. I think I'm a fan. Yeah, just using light pressure here. And with the to-be that was that was plenty dark. Just pull it out little by little. And we'll get back in there with the eraser a bit. Can get right down in there. Let's try. This guy. Feels good too. It's just such a small space. So I'd be surprised if I didn't like it and I didn't work for what I needed. But we'll see if it stands the test of time. Little bit they are on the underside. And I want to blend too much in here. We'll do some and it would be all black. Some of that white showing through. So let me grab my kneaded eraser. This guy's gotten a workout. This class. Keep in that white area. Typically on the left side is what I do. Need to pull out too much here. In fact, we can go a little darker here. All right, I think we're pretty good with that. I do like these two tools a lot, so pretty happy with that purchase. The other thing I'll do sometimes is take my Micron and get in here and outline some of these now if you don't like that, look, that's totally fine. You don't need to they don't go over all of them, of course, but just let's see, there we go. Let me get it going. Just some skipping marks really just to indicate some of those petals there. To highlight some of those areas might be running and how to ink of this one. Guess that's another Amazon purchase. Alright, let's get a little splatter on here and then we're going to call this one done. Move on to our last design. So let's get in. Let's see. Let's just go ahead and I'm going to use the yellow at first here might add some more. Get a smaller brush. And our test page. And let's go a little bold on this one. Usually, I do like that. Let's get some of the cadmium red in here. Maybe. Let's see. Yeah, kind of like that. If you didn't like some of where splatter when if you wanted to get in with just a tissue and so some of that up you could I don't mind that, but I'm just showing you where you might want to do that. And one level thing I might add a deeper, just another layer to this petal here. Alright, and get my fingers out of there. We're going to call this done. Alright, I'll meet you in the next lesson. 16. Blue thistle - Part 1: All right, last design of class, the blue thistle. So there's all kinds of different fizzles out there. I know there's one. I think the milk thistle up, pink, purple ish one. But I came across an image of this one and I thought, oh, that one, that's Purdy. I don't normally use a blue like this, but when I did, I thought I really, really like that. So I got a little carried away as I was trying to come up with this color, mixing it my palette. And you know, sometimes we just overthinking it and we're gonna go simple. All right, so before we do our painting, I'm gonna go ahead and do the sketch. And you can do this as large or as small as you want. But I'm going to start right here in the middle. And I've got my hope I've got the tube. I don't want it to be we'll grab my HB. And this is just really pretty straight here. Will have one long one coming out this way. We'll have a thistle up here and then here as well. Alright, so we won't get too carried away with this. We want to get some of these spiky leaves in here. So the way I do that, just kinda like we did the other ones, that center vein. And then we're gonna go out and come back IN, OUT, come back in common in this direction here. These are really kind of fun to make if it's easier to turn the page for you, go ahead and do that. But you're coming out and then you're coming back in. It's just these little finger-like projections. So turning that paper, however, it's going to be easiest for you. It's like your reach and out. Nope, come back, go back out. Come back in. And wanted to get it jaggedy. Not going to correct anything right now. I'm in this way. When I make sure this is up enough. So we have some of these little spiky leaves coming down this way to have kind of a fun one common back around the stem. Hey, so here is where that dome-shaped, this soul is gonna go. Same here. Just want to space it out a little bit. Make sure you've got enough room. I make this guy a little bigger. And you really don't even need to sketch it out. You know, you're just going to put some water here and drop in a drop in the paint, but just, just enough to give it an eyeball look to see where you're going to go. And then we've got some of these funky leaves coming up around this white kinda hug enough fissile, but it's not going to go above that top. So if I did one right here, we're going to grab the masking fluid in a minute. Couple there, and show you how I use that. Very, very simple. Sure. A lot of you have used it already. And a switch out and just grab my h is just some tight little nooks and crannies here sometimes on this Arches paper, like we said, it gets a little darker than what we really want. Initially, at least. But I think this guy might be a little too, a little too big. I'm going to pull him back. But start running into some here, but we'll just shortened knees on this one here. Don't make them too too big. But nothing wrong with them running into each other. That's kinda how these things work. So, so pretty. But be careful as you're white been off that this one down away too far. But I think this guy is too high. So I'm getting a little caught up with these leaves right now. We still have plenty of work to do with a missile. So let's just pull that out altogether right now. So I'm going to have some masking fluid right here, but I want to pull some of that graphite off first. So the easiest way I do this, my ruling pen or an old brush, just dip it in, drag it off the edge. And so when if you're using a ruling pen, you wanna make sure this little wheel is either facing you or away from you, where the slit is. That's what's gonna pull the masking fluid out. If you put it down on the paper like this, you're just touching the metal to the paper and you're only going to get this part on your paper so you want it to come out of the insight there. So then I just try and get a 45 degree angle. You don't need much. I mean, this is super, super simple here. That is just going to provide a little space for a leaf for us as we paint this area is just going to block it out. 17. Blue thistle - Part 2: Hi, I'm gonna put this off to the side. We're gonna get our paints mixed up. Pull out little bit 11 or violet. Violet, lavender, same thing. Ultramarine blue, deep. A little bit on this side too, but a watery, more watery mix. All right. Let me just test these here. A little bit softer. Super deep color there. All right, don't need much of that. All right. So have your number 6 wedge close by because we're going to be using the tip of this brush. I'm going to lay in a water wash with just the round brush and then drop in the pigment with the round brush to clean, clean water on your brush. I'm just going in that dome area. Might going to extend it a little bit too. I want this one to be bigger than the other one. And then just take in a little bit of lavender, gently drop in that in as that still wet and, uh, take the wedge using just the tip, I'm pulling out very, very fine hairs. I call them hairs, very, very fine lines. And as we do that, it's taken it out of the middle obviously. So we're going to drop some more violet in there and just a moment. I'm back with our round brush. I'm gonna go ahead and get this wet, but I want to drop some blue into this first one while it's still wet. But it's a little too wet right now. I want it to dry just a touch. Now, some of our boys were gonna do the same thing. Use the tip of our brush to pull some of those little hairs out. And I like some of the white showing through some of the purple a little bit. Just to give it some good contrast, they're just kinda build that up. So you might find that you need to pull out a little bit more trying to keep that dome shape and all these little hairs don't need to be perfectly spaced in. So I have some a little bit coming out a little bit longer than the others. But generally, generally equal. Just love that burst of blue. You've seen some vessels where they're little spikes are really long. Can get, can get carried away with this too. We'll add a little more blue down at this one on this one here. But we want these to dry because I'm going to have even more concentrated blue and do some lines in here once it's dry to remember, it's going to dry lighter. But this is going to be a beautiful color against the graphite. Got a little bit of light source come in right here. So we want to try to preserve that nice and dark down at the base here. All right, We need to let that fully dry. So just looking at this while we're waiting for that, this guy down here might be a little too big. I'm going to add another one here. Might add another one here, so I know where they're going to be colliding a little bit there, but that's okay. It's kind of the nature of this plant flower anyway. So we're going to let that fully dry. We'll come back and finish it up. 18. Blue thistle - Part 3: All right. I'll dry. Still need to keep our masking fluid on for a little bit because we're going to get back in and do these little tiny details there. Okay, so the easiest way to do that with your wedge brush. And I'm going to write in this color very concentrated, very thick. And I'm going to be doing little lines. If you had a detail brush, you can do that. Use that of course, to adjust pretty much in this direction. Up the center and off to each side. Start on this one so I don't get my hand. And the other one. Another activity that's going to force you to be patient and paying attention to what you're doing. And then I pull out to this on the edges to go past it a little bit. Have some darker than others, some thicker than others. I find it easiest to go up the center first and then out from there. Okay, a little bit more drying and then we're gonna get this masking fluid off and we'll start on our shading. To get the masking fluid off. I just take my finger, rub over it. Can use an eraser to be careful you're not getting in that graphite too much there. Right before we start building up the pencil work, I grab this signal uni-ball pen, and I just add some highlights in here. In the same direction we were going with the brush strokes. Light, easy strokes. Could do the bleed proof white with a little detail brush or white goulash. Just enough to make that stand out. All right, some of these leaves, I need some help. Let's get this big guy done first. Just was looking a little too big, a little off balance there. I just have my h. Correct? This guy will pull him back a little bit. And I'll make this one run into this onsets. Didn't look natural if it was just short like that, but not a big deal. They're all clustered up here. So they are going to be leaves that are going to fall into each other and you want that. 19. Blue thistle - Part 4: All right, So we'll start shading and I will speed this up in a little bit. Because I know by now you are experts, shaders and blenders. Plus we can only upload a certain amount of video size to skill share. And we'd be here till next Thursday. If I didn't speed it up. A little hard to see. I guess she can tell their leaves flipping back over on the distal part, but I just shade in pretty much one side. Okay. Not a big deal there, but we're gonna go ahead and get some blending done here. They're fancy new blending tool. Soften, thus graphite. Remember in these little bifurcation areas, you want those to be much darker. Really gives it a nice point of entry look to it. And these little jagged edges of the leaf, those are perfect areas to darken up. Pretty loose and carefree with this. This is not intended to be like super, super-duper blended. And all the different tones and values just enough to give it the contrast and a really cool look to it. Don't get so caught up in. Is it enough or is it not enough? Is it blended all the way? This is, this is the fun part where you just relax. Don't worry about it. Really blending it out on this, on one of the lines here where the stem is. And go on past where the initial pencil mark was. Almost looks like a little bit of a shadow there. So that's pretty cool. Maybe just a little darker areas on some of these tips for b. And then we'll get that center vein in there and make that a little more pronounced. All right, should we call this one done? I think we should, and I think it looks really good. I hope you enjoyed this class. I can't wait to see what you create. So please do upload your projects into the project gallery or tag me on Instagram. Let me know what you enjoyed about this class. Let me know how I can help serve you better in the future as well too. I really enjoyed making these classes for you. So send me an e-mail, send me a DM. And thanks for being in class. I really, really appreciate it. 20. Thank you & Class project: Well congratulations, you made it to the end of class. I am so grateful and thankful that you're here. I hope you had fun and I hope you'll learn something new. Please do upload your work into the project gallery or tag me on Instagram so I can cheer you on. All right, Happy painting. Have a great day and I hope to see you in future Skillshare classes.