Watercolor Purple Flowers with Wedge Brush | Elizabeth Rohrbaugh | Skillshare

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Watercolor Purple Flowers with Wedge Brush

teacher avatar Elizabeth Rohrbaugh, Watercolor and Acrylic Artist

Watch this class and thousands more

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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

12 Lessons (32m)
    • 1. Preview

      0:15
    • 2. Introduction

      0:40
    • 3. Materials

      2:30
    • 4. Getting Started

      2:02
    • 5. Second Petal

      1:54
    • 6. More Petals

      1:47
    • 7. Finish the Petals

      1:57
    • 8. The Center of the Flower

      2:23
    • 9. Finished First Flower

      0:21
    • 10. Adding a Second Flower

      5:27
    • 11. Evaluate the Design

      7:39
    • 12. Final Design Elements

      4:38
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160

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3

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About This Class

Join me to paint beautiful watercolor flowers using a wedge brush! The techniques I show you can be reapplied to a number of florals and other paintings. You'll learn lifting, blending, and color mixing. And we'll have a lot of fun! 

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Meet Your Teacher

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Elizabeth Rohrbaugh

Watercolor and Acrylic Artist

Teacher


 

Well hello there! I'm so glad you're here!! I'm Elizabeth. I am a self taught artist with a love of painting. I primarily paint in watercolor and acrylic and I can teach you to do the same. I'm honored that you've joined me in class! 

Art school isn't a requirement to be an artist so I hope everyone feels comfortable here. I try to break down my lessons into simple steps, with just enough instruction to be helpful, but still allow for your own creativity. Remember, there really are no rules in art! Maybe that's why I love it so much! 

So grab your brushes and some paint and join me in these classes. I'd love to see your paintings too so please feel free to share them in the projects and leave me a review if you're so inclined-I'd be fo... See full profile

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Transcripts

1. Preview: 2. Introduction: Hello. Welcome to my studio. And welcome to my skill share class. My name is Elizabeth Rohrbaugh. I'm a self taught artist, and I paint primarily in acrylic and watercolor. And I'm so glad you joined me. Today. We're going to have fun with this art lesson. I'm going to teach you a watercolor high biscuits. But the techniques that will learn could really be applied to a multitude of flowers. We're gonna work on blending and color mixing and fading and lifting. I believe everyone can learn to paint. I believe everyone will enjoy art. And I hope that I can show you that today in the class. I'm so glad you join me. Let's get started. 3. Materials: Let's start by going over the materials that you'll use for this class. I paint on arches, Cold press, watercolor paper. This is £140. You could also use £300 paper. We will not be creating any heavy washes that would require stretching, so this weight of paper would do just fine. I would suggest not using £90. I think that's a little bit too light. I also prefer to use a photo mat just to give myself an indication of where I'm painting. So when I was a beginner, I would often just start painting and love the result, but end up with the size that would not fit in a standard matt or frame. And that just simply adds cost to your finished piece. So if you would like to create something that you want to Mattan frame later, I would suggest just simply drawing some very, very light pencil vines around the inside of the map to indicate where you will paint The paint's that I choose to use are quinacrine own magenta from Daniel Smith, Carpizo Violet from Daniel Smith and Quran acronym Gold, also from Daniel Smith. For the leaves. I often use Sap green, which is an American journey watercolor and my signature color that I just prefer to add to . Almost every painting is a turquoise, and this one happens to be Windsor Newton. If you don't have these particular colors, you can still practice this exercise with any color that you choose and any paint brand that you prefer. It will work just fine. I just happen to prefer Daniel Smith, an American journey and the brushes that I will be using our A number six in the number four Black Velvet, those air round brushes. And then we're also going to utilize either a sword brush or a wench brush. Sometimes a dagger will work as well. This particular one is a simply Simmons half inch, but any similar brush will work. Of course, we have a water bucket and some paper towels and a palate to put our paints on, and we will get started 4. Getting Started: so you can see I've started by just creating some very light pencil lines in the corner of where we will be painting. And that will give you an indication of where your center of interest should be and not to paint so much outside of a free mobile size. If that matters to you gonna lay the frame aside and we're going to start with the sword or dagger brush, whichever you have. And I have my palate already to go in the paints on it, and I'm creating a wash of my magenta in my car Pozole purple. I'm kind of blending the two of those on this brush, but then loading some of that darker purple onto just the tip of the dagger brush. And with that, we're going to create our first pedal. This technique would work for high biscuit us. It would work for glad Eola, um, any number of flowers. And as you can see what I've just created, there is a concentrated amount of paint at the edge of the pedal, and it's lighter in the center. I'm going to rinse my brush just a bit and blotted off on some paper towels. and pull some of that color down into the shape of a pedal. Wherever the water is, the pigment will follow. Smooth that out, and this technique creates so natural curves. Some natural highlights in the in the flower petal as well is that concentrated area around the edge. 5. Second Petal: as that first pedal is drying. I'm going to repeat that process and blend these two colors again in a second pedal, and you can see where the purple is fading right into the magenta, going to carry the brush up and around. And there are some areas where it's a bit drier in the brush, and I'm going to lift up that pigment from the bottom and very slightly pull this over to meet. And in this darker area, the magenta and the purple are mixing, and I want to carry those heavier pigments up towards the edge. So you have a balance, and this never comes out the same way twice, which is natural in nature, no to flower petals look alike. And there's a lot of variety in the color and the intensity. And that's what we're going for with this simple technique, and I very gently I'm just softening some of those edges. I'm gonna pull this a little bit closer so that you can see the blending, and we're going to let both of those drive for just a moment 6. More Petals: we're going to continue adding pedals in a similar manner, and I'm leaving the center of the flour a bit lighter than the perimeter. I love the contrast that that provides, and it makes the flower look more realistic that it has a center. So again, this could apply to a number of different types of flowers. Hi, viscous. Glad Eola, Um, anything that has a richer edge and you want that vibrancy in the center. I just think of Hawaiian flowers. In this context. There's so many beautiful ones there and where this dry edge occurred where I didn't get my brush all the way around. I'm just very lightly pulling some of that pigment around to smooth that out. That could happen to you a swell, and I think it's important to know how toe quote unquote fix some of the issues that you might face. And in these steps afterwards, I'm rinsing my brush and blotting it very quickly and then, with the just damp brush, pulling some of that pigment back out because I want that vibrancy in that transparency in the center, and I love how rich and dark that is. So the additional challenge is to stop messing with it. So I'm going to stop there and let that one dry 7. Finish the Petals: I'm zoomed in a bit on this stuff, and I want to show you how you can very carefully pull out some tiny veins in the flower as this is still drying. It's It is mostly dry, but not quite, and I've just taken a very lightly damp brush. So this is my number four, and I dipped it in the water and blotted almost all of the water out. But there is still a tiny bit in the tip and where that concentrated color is along the edge, if you very gently tickle that with the edge of your brush, you can pull down the tiny vein of color. If you're interested in having just a few more details and make this look a bit more realistic, that's a nice tip to use. So you can, deep in some of the contrast ing areas and where I'm pulling this away from the edge. It's ever so slightly lifting some of the paint that's already there, and watercolor will naturally dry a tiny bit lighter than it is when you put it down. So this is one way that you can very slightly and just a little bit of interest and if it gets too heavy, you can dampen your brush, blotted off and then just ever so slightly, go over that edge and lift that up and soften it, and it tends to make the pedals look a bit more realistic with that level of detail. 8. The Center of the Flower: to finish this project. I want to show you that something that you might like to do to add just a tiny bit of detail to the center of the flower. But I want to point out the vibrancy that we see here and over here with the magenta and the purple blending. That's the lesson that we were trying to learn today. And again, you can use a variety of colors to achieve that. I just happen to choose magenta and purple, but you could use to different blues a yellow and in orange, depending on what your favorite color is for the last detail, I'm going to take just a tiny bit of watered pigment on my brush. So I made a somewhat concentrated wash and blotted just a bit out of it. I'm looking for that sharp point, and I'm very, very gently very light touch. Just going to add a few small indications of the center of a flower that would, you know, maybe the stamen, um, veins, even that would come into the center just to give that a little bit of definition. You don't have to be completely 100% accurate here, but What I'm showing is that the pedals kind of come in this way. They're all meeting in the center. That's the indication that you're giving with this stuff in that little bit of contrasts can kind of set off that flower from a distance. You could potentially use a different color a deeper, perhaps in dark blue, like an indigo or really deep purple. I just happen to mix the two colors that we were using for this toe. Limit the number of supplies that you need, so just adding a little touch there creates a fully centered flower. 9. Finished First Flower: you've completed the first lesson in this class. I hope you've enjoyed it. And I hope you go back in practice. The next project. We will add to this blossom and create some other blooms some buds, perhaps, and some leaves to finish off the peace. 10. Adding a Second Flower: for the second project, we're going to start with a completed flour and finish off the marked out Matt size. Of course, you can create this any size you like. Mine is about a five by seven, and that's a nice small frame, a ble size to practice and a nice one to frame and give us a gift if you like. So similar to the first flower, I'm starting by loading my wedge brush with a mixture of the the carbons Old purple in the magenta, and I'm going to create a but here and perhaps another down here just to give some balance and have the stem perhaps kind of curve across the space. So trying to keep this a bit organic, this is only going to be a bud, so I'm going to make it much smaller, and it's going to taper in the end here, I'm going to push some of that pigment up towards the top and lift. However, I do want this line to be very rich in color that extends down because where the pedals are folded over each other, you would expect a concentrated color. I'm just adding a tiny bit of that car bezel purple along the edge and pulling that back going to rinse my brush and pull some of that color down. In this case, you would expect some folds in the pedals as they come down towards the bud, going to reach back in and grab a little magenta and add that up at the top so that that flows down in with it. And it provides some balance between the flowers. That way, you typically like to carry. I like to carry some of the same colors all across the painting so that it creates some harmony. This is very dark, so I'm going to lift just a tiny bit of that, push it towards the edge and allow that to flow down into the edge of the pedal. Words folded over. Then I'm going to take my round brush and in a similar fashion, just pull a little of that color out. It will flow back in as it dries, and I'm very loosely very loosely hanging onto this brush and just pulling some of the veins down to give it an indication of texture in the pedal. I learned a lot and pull some of that out here, too. That's a little thicker than I intended. That's better. Pull that around there, and that looks sort of like a bud that's folded. And then this lesson. I want to show you how to create the Stam wall. It's still just a tiny bit wet. So while that's drying, I'm mixing up a bit of the sap green in the quinacrine own gold. I love the warm, yellowish color that that provides in a green, and while this is still moving here, I'm going to go ahead and pull that stem down, just barely touching the edges and have that work around this way that conveyed into the distance. Or we can make some other leaves, adding just a tiny bit of green there. And here's my turquoise, and what that does is just add a little pop of color and makes it visually interesting. And it deepens that color of the stem so you can experiment. If turquoise isn't your favorite color, don't use it. I love it. So that's why I put it in most of my paintings, find what you love and use more of that, and I'm just extending this leaf along the edge of the flower there, but and I might create another stem over here. While that's still wet, it will flow a bit more organically and look natural. So that's why I'm moving kind of quickly here. You'll have to practice this until you get the hang of it. And I'm just carrying some of that color down because again, where where it's wet, the water will carry the pigment. Okay, I'm gonna let that dry for a moment. 11. Evaluate the Design: When you're creating a piece that you want to frame, I think it helps to put the mat around it, and that allows you to check the balance of the peace. So there's a lot of strength up here. I obviously need something here, so I'm going to angle the stem of this flower and create another, but over here, perhaps coming off of this system, but also have a stem for this flower coming down. So that gives you an indication of where you need to work. So I'm going to create another stem off of this bottom one, and I just want it off a little bit because I kind of like the direction of this. It's still allows from my focal point to be up here, and we may heightened that a bit. Make it a little bit more dramatic, but this flower, I'm going to make a bit lighter to give some balance thes air both very strong. So we want a lesson that just a bit and again it's going to be another bud. So I'm starting from this stem, and perhaps it's a little bit smaller, a little bit smaller. A little bit later, you want to add some variety in your piece, so this is a bit softer lilac. It's still using those same two colors. But I'm just pulling some of that pigment out. And as that dries very slightly, I'm going to add just a bit so that there is balance because the edges of these pedals have some strong color down here. I'm just going to deep in this slightly. So when you want to make a stronger color, use more pigment and less water. I'm gonna lift a little bit of that water out along that edge and then go back in and add more pigment. Just a touch. Let that drive for a few seconds and then, with a barely damp brush, Syb rinsed, blotted, and this is barely damp. I'm going to just tickle these edges here and pull that pigment around just to soften, maybe given indication there of some depth as the pedals fold together and just ever so slightly pull that down. If I want this just a bit deeper, just adding an indication of a pedal fold there for some interest. I'm very slightly, very gently. Just having some color in this is one of my favorite things about water color. As you do that, you can go back in and lift and soften and then just let it play on the paper. That's the beauty to me of water color, the way they mix and the colors dance together and it moves. It's so difficult to manufacture that in another medium. So we want to take full advantage of what watercolor will do for itself by letting it happen. Okay, so that gives a nice balance to that piece. This is very dark. There's still some dark there, and then it carries your eye to their and in the stem. While that's still just a bit wet here, I want to connect that. I don't want it to look like it's just sort of hanging there. I'm going to add some more green and deep in that a bit. Carry it up onto the flower is fine at another touch of my turquoise, just to give some variety and some depth, and typically where these two separate at this stomach would be a bit stronger color. So just adding a tiny bit there and smooth that stem out in terms of width so that it looks a bit more natural. Okay, And then while we're still working, we can add another stem to the main flower. And it perhaps came up here and we're gonna have that just curve a bit as well. And it would likely have some greenery coming off. Perhaps another stop going up that way. Maybe even some coming off the page up here is to give it some balance. It's okay if you paint outside of those lines that you've created on the edge of your paper because if you mad it, you're not going to see it. So here I'm just deepening that underneath the flower. You would expect that to be a bit darker, perhaps where the stems break a little bit can add some darker color. I want a deep in that just a bit, because that's a larger stem. So you would expect that to be a bit greener. We're gonna have that one kind of going off behind it just to give some balance over here. And I can make that a bit lighter just to indicate that there are more flowers in the field there, and we're gonna let that dry 12. Final Design Elements: reevaluating the whole project as a whole. I think I would like to add a little bit more interest down in this corner and perhaps carrying some of these buds over to these smaller stems. So again, we're going to create just a lighter wash of the magenta and the violet and great a little bud right here. This is even smaller than the other. And because I prefer odd numbers, I'm going to make just the indication of one here. And then we're going to connect that to this stump, so that just helps carry the I threw the whole piece and you can use this brush or the round to do that again. It's typically the bud would be a bit darker at the bottom where it meets the stuff. So I'm just adding a tiny bit of concentrated color there just a minute, and not that carry through while it's still wet. And again, these we want to be a bit lighter so that they're not competing for attention for the others. And while that's wet, I'm going to connect the stems and pull that down into this one. It's okay. In fact, it's nice if that blends a bit. I don't want that yellow and green carrying up too far into my magenta. So I'm gonna pull that down and wait just a few seconds for it to dry. This one's going to connect here, perhaps have some the leaves. They're kind of laying a bit sideways, but to me, that's interesting. It add some motion, a little bit of organic energy to the peace. And in these final stages, you're just going back and looking and readjusting where you think it needs it. So there's some rules about numbers of, uh, in my mind of florals for visual interest. I prefer on numbers, and I'm just gonna add a little bit of greenery on that side. Let that kind of float over there, and this is going to go off the page down here so dark in this stem just a bit. And I'm blending that out and I want a dark in that stem, and I'm just adding a little bit of turquoise to my quinacrine on gold and green mixture. That's just going to give a little bit of a pop. Let those colors blend where it's still wet and carry it out to the end here. And what happens fortuitously is that turquoise separates a bit. They give some visual interest. There were allowed to carry here, and this one can go off the page. The mat will cover that in the same here. We're just connecting those two as that dries and show you the finished piece with the mat . And now it looks very full and complete. Now you finish the second project. I hope you've enjoyed this class. I hope you practice and send me pics. Please do Leave me a review. Every review helps. And if you have any questions, you can send me a private message. My social media are linked on this class and I hope to see you again soon.