Watercolor Wildflowers: 2 Fun Projects | Garima Srivastava | Skillshare

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Watercolor Wildflowers: 2 Fun Projects

teacher avatar Garima Srivastava, Artist and Illustrator

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

Watch this class and thousands more

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

Lessons in This Class

11 Lessons (57m)
    • 1. Introduction

    • 2. Supplies

    • 3. Watercolor Concepts and Techniques

    • 4. Yellow and White Wildflowers

    • 5. Pink and Red Wildflowers

    • 6. Blue and Violet Wildflowers

    • 7. Project-Wreath-Part 1

    • 8. Project-Wreath-Part 2

    • 9. Project-Hand-painted-Invitation

    • 10. Bonus Video

    • 11. Your Project and Conclusion

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About This Class

In this Skillshare class I’ll teach you how to paint lots of watercolor wildflowers in simple brushstrokes and loose floral style.

This class is best suited for all levels of watercolor painting experience.We will start the class with supplies list, I’ll walk you through basic watercolor concepts and techniques we will be using in the class followed by thorough practice of wildflowers classified by the colors of their common varieties.

As the project for this class you will be painting a wreath and an invitation with wildflowers on them.

By the end of this class you would feel at ease in trying to paint various native wildflowers in a loose style and use them for your arts and craft projects. Above all they will add a breath of fresh air to your loose floral bouquets.

Music: Royalty free music by Martin Landh http://www.epidemicsounds.com

Meet Your Teacher

Teacher Profile Image

Garima Srivastava

Artist and Illustrator


Hello, I'm Garima.

I’m an artist and illustrator based in The Netherlands. I have been painting professionally for more than 8 years. My artworks speak the language of joyful brush strokes and vibrant colors.

I live with my husband and our sweet little daughter in a quiet village close to Amsterdam, where I paint everyday out of my home studio and share my art journey on my Instagram account (Garimasrivastava_art) through my daily posts.

Adjusting to my new life as a mother has brought a new perspective into my artistic style where I have started to paint fast while retaining my signature style to keep my artwork very uniquely eye catching. Although botanicals in various styles do feature heavily in my portfolio, I have started to push myself to ... See full profile

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1. Introduction: Hi, My name is Marsha. I'm the artist and illustrator behind Instagram Account. Mylar, Basil, That studio. I've been painting botanicals for more than eight years, and von Flowers have always been a favorite. They represent freedom and resilience and not to forget. They're super easy to faint. Same today. Skill share class. Let's paint involved flowers with me. We'll start with basic watercolor concepts. Practice lots of wildflowers, followed by two fun and easy projects featuring them that's not based much time and get started. 2. Supplies: Let's quickly go through some of the supplies I'll be using in this class. So for paper today out be using watercolor 300 GSM cold pressed paper from RT za. I'm from cancer in Excel. I'll also be using some print at home textured guards stock, but you can also use watercolor paper for it. You'll be needing a clipboard. Are a cardboard a mixing trade? Amusing. A ceramic plate for it? For brushes, you can use any kind of round brushes I'm using. Pure. It's able round number six Pure. It's able round number four Appointee Ma Brush un for fine detail. A synthetic round brush. There's also an optional brush vigil used for dry brushing technique. It's sort of fuzzy natural hair round brush. I'll be using some Scotch tape to stick my paper, some a razor pencil, and I'll create a circle using compass. You'll need masking tape, a jar of clear water, some kitchen paper roll. And now here is the list off watercolors and to quash colors that I'll be using in this class you don't need these exact shades are all of them. Just find something similar in your own palette? 3. Watercolor Concepts and Techniques: Let's go through Some of the basic watercolor techniques and concepts will be using in the class. So I've got in my mixing trace, um, indigo and some permanent carmine on This is a soft red sable brush number six on. I'll just strains it big some color in it, and make quite a watery puddle. So quite a bit of water and very less color and knife. I'll use this to make a little square. This will give me sort of very light color on my lightest value. Now I felt like a little bit more color. So now there's more color, less water. I'll get a bit darker value now, if all big, pure color and now no new water. I will get the darkest value so you can see light a bit darker on the darkest. So these are your values. Now they're Do raise to add water color onto paper. You can read the paper with the water first, or you can simply add a bit color onto a dry paper. Now, where you had already wet the paper and you add more red color on do it. This is called vet on vet, so you're applying a vet color onto a wet paper. You can add another red color onto this vet layer, so this is a wet on wet technique. While here, this is called wet on dry, you added a red color onto a dry paper, and you get sort of very defined edges. So these are the two ways of adding water colors. So when you add a red color onto paper, that's vet on dry. So I want you to practice a brushstroke for general pedals. Just big some color in your brush on. Push your brush down and turned the 100 little bit on As you go out. Lift the brush and just use the tip of your brush. In the end. Push, lift and let go. Let's practice this for creating the pedals. The one just push and let go, Push and let go. But this will give you very generous five petal flower. Now you can see there is a problem here. You can see there's a little bit of water pooling whenever I'm making this brushstroke. That means there's too much water in my brush. There are many ways you can avoid this simply Renzi brush while it's still pulling dried a bit untouched. This sort of thirsty brush towards fared, uh, fooling is happening, and it will big tax us off the other res to control the amount of water in your brush so you can simply not pick too much water. Or, if you have picked too much water, just touch on the side of a paper travel, and it will reduce that amount of pulling now for florals I usually recommend. Using round pointy brush are a nice mop, so what you can do is use your brush and practice really fine lines, but also broad strokes with it. So load your brush with some color. These fine lines will help you to create rains and little branches and make them quite dainty. So Portia, brush down and use just the tip off your brush to make these fine lines. So hold your brush tight here and straight down with just a tip off your brush made long lines a dodge them do some off the flowers. You can make the baby as well, and now let's practice how to make a general pedal stroke. So push you brush down, carve it on a lift, push, turn and lift. And now for a leaf you touch, you push on. Then, as you go out, lift your brush. It's make one palm leaf, so one long line and then a touch off the leaf stroke you can see here. My brush was a bit too dry, so I got sort of rough edges. But it's not really bad if you're trying to create sort of a natural look to you leaves so you can avoid it by loading your brush with more juicy color. Now let's make some generate for petal flower, so one petal to three. And now I will make the fourth petal a bit tenor, sort of flat so that it looks like you're looking at the flower from the side. Now let's add some more color to the center, some pickings and permanent carmine and adding it to the center of Etan with you can see how it bleeds with the indigo. You can add some sap green in your brush and make really fine line. Onda, also your leave stroke, and now we'll pick some. Think makes off into go into the brush, and we'll use just the tip off our brush to create little dots near the wet center off the flower to add some finishing touches. The next concept I want to show you is dry brushing, so I've got a really old dry, fuzzy natural hair brush so you can see how fussy eaters and I will just pick some color makes into my brush, not too watery, and I'll just dab it onto the paper so you can see how fuzzy, um, texture it's giving me. So it will give you a good coverage, but still keep the shape sort of fuzzy and light, which you can use to create and alliance, or for any other sort of like fluffy texture you will need for your florals. You can add little twigs are stems to them as well. So these were some of the watercolor concepts will be using throughout the class in the next few videos. Let's practice lots of vile flowers 4. Yellow and White Wildflowers : Let's pain some yellow and white wildflowers. So in my mixing trade, I've got some Tanaka Drone gold. New composure Arlen Transparent Yellow Winsor Violet Indigo, Cobalt blue Lump, Black sap green on born number. The first floor. We're going to paint his buttercup so I'll make a mix of new gum Bush and Queen aka Drone Gold in my round number six brush. And I'll start making four pedals, which are heart shaped so very close together. You can leave white in the center. It's a heart shaped petals. And now for the flight that is bent so one hardship pedal, followed by two side pedal and then a crescent. For the battle facing towards you, you can add some sap green in the center. Let it bleed a little bit. Now you can connect with 10 stocks, a touch off little leaves you under. And now for the statements and mixing a little bit off Vince, a violet with some cognac, a drone gold to create this little enter dot So some conducted runkle on the touch of insa violet. Not just make little tiny dots. So that's your buttercup. The next flight we're going to paint is dandy lines from picking connector on Golden My brush and I'll just start making little long dashes starting from the center, going all around, making them quite dense. I'm just using the tip of my brush, and now I'm changing the mix into transparent yellow as I go out and making again really fine lines coming out from the center, going all around, make it quite dense. And now I'll make the center a bit darker with the same conduct drone gold mix, and I'll just on the same dashes again, a bit in the center. So for a flag that sort of facing on. Towards aside, you start for the corn, aka drone gold ashes in the center and then again change into transparent yellow for the outer petals. Deep enough, the center a bit more to make the centers look a bit more dance. I sometimes other touch off burnt number two Mike Anoca drone gold makes, and I'll just add another layer of those dashes in the center. Now, with some sap green, I'll make little stocks for their leaves, a long dash, followed by the exact marks on both sides. For the really spiky leaves that they have one more here. I'll darken up the center a little bit more with that same burnt umber mix. So this was dandelion. Next layer is mustard, so I'll start with submarine and create a long dashed stock, followed by little twigs coming out. And now, with some conducted drone gold mix, I'm going to start making little four petal flower starting from the top, keeping them quite lose. I'm at the bottom, just little dabs for the buds. You can make them as dunces you like on. So keep some off them full flowers and some with just little dabs. I'll add a touch of green for more tweaks and some more in the center, sometimes to darken up the value. I add a little bit off point number, just a touch here and there. So the next flower is a Globe flowers. So for that, I'll change my brush into a mop brush with a fine tip, and I'll pick that same connected Rome gold. Andi New gumbo sh makes in my brush. So just a touch of new gumbos and conduct drone gold I'll keep this makes quite juicy, and I'll start for the Globe with the center a little round glub and try to make 10 petals around it curved around and one or two pedal sort of bent outwards. So let's see one more time, push and then 10 petals around it, curved around it and maybe one petal sort of bend outwards. But some green just at 10 stocks on lots off leaves around them. So this was your globe flower. Next are the wide daisies, so I start with a corn, aka John Gold Center. You can paint the white daisies or white flowers in many ways. One of them is to paint around them and leave the white in between for the shape of flood. The other ways to use shadow colors to bring the pedals. So I'll first paint the center with corn, aka Drone Gold on the touch of burnt umber, and now I'll make a dirty mix out of my indigo, some cobalt blue. I'm a touch of Vince, a violet so really dirty kind of shadowy color, and I'll use that to create fine petals starting from the center. I want the center to bleed, so just connect them all through this center. You can make it as dense as you like. It's tried one more time. Garnacha Drone Gold Center, followed by the same dirty mix for the pedals. Sometimes I add another layer off sort of indigo and cobalt blue mix for a little bit of shadow placement. For this kind of lose style, I try not to worry too much about where I'm placing the shadow. So these were daisies. Next step is Queen Anne Sleaze, so we'll start with sap Green and some burnt umber in our brush will make a long stock. A few curve dash has been downwards, and rest of them bent upwards. This is the closed form, and now, with some dirty mix, that same bluish dirty mix that we have on a dry, fuzzy brush. I'm going to pick some of that color, and I'm going to dry brush by dabbing this little brush and just dubbing all around with that dirty, bluish mix. I'll pick a little bit more blue this time a little bit more in Decaux, and I'll just make it quite dense now for the opened up for me. I'll just start with that same sap green and burnt umber mix, and this time the upward sort of long stocks. I'm just going to spread them out a bit more. I'll start with a bit of dirty, yellowish greenish mix to make these little dabs, followed by same dirty blue mix for the Dobbs. And now we'll use the dry brushing on that dirty, bluish mixed to kind of make those little dabs again to make it a bit more fuzzier and fuller, darkening up the stocks a bit more, I'm thinking off adding a touch of Kabul. Blue and indigo makes to darken up little dabs in this fuller form of the flower. Just little dabs. So these were some of the yellow and white wildflowers. 5. Pink and Red Wildflowers: Let's paint some think in red violet flowers. So in my mixing trade, I've got some cognac. Atran, magenta, some permanent carmine, some permanent Eliza in crimson. The first flowers foxglove. For that, I'm mixing a juicy makes off Connacht Rome agenda on a touch of Vince Avala to it. Let's see the shape of the flower first, so it's sort of a trumpet shape. So first, a dark center and no Renzi oppression. Touch that it raised out. Brush towards the bottom of the start, and now use that very light makes in your brush and create the top two part of the flower. Now with your installed brush again, touch all around the darker center for their very recognizable part of this flirt at the little dots in the center, with some indigo on up in detail. Brush um de, marking the top part on the bottom, opened apart with a touch of indigo and kind of softening that as well. Now let's see how the flower fits in with the rest of the whole stop. So a sap green stock little butts up on top, some facing downwards and now, with a touch of permanent carmine and magenta in my brush. I'll just add little dabs for some of the but that are opening up now, some that are a bit more elongated. Now let's add a bit darker centers. To them, it's a mentor, violet. Now let's create a few that are fully open. So Winsor, Violet and garnacha drone magenta dots but rinsed out brush to its bottom. A 10 color makes for up on top, leaving fighting between the two, touching with the bed brush all around the center de marking the top important part, softening it up, having a little bit more sap green to the center and some leaves. And now the black, our indigo dots for the center. Let them bleed a little bit. So these furs, your Foxgloves, the next flower is gone flower. So for that I'm picking up some burn temper with a touch of Vince, a violet, and we'll start with the top oval shaped or cone shape, adding a big moments of Eilat at the bottom. And now, in my brush, L picks and permanent Carmine and not start making pedals that are bent downwards. So 10 downward spend petals. I want this center color to bleed a little bit into the pedals, so let's see it one more time. The doctor center a bit more means a violet at the bottom and now permanent Carmine for them bent downwards. Bittles. I'll also darken up the center with a little bit more Vince a valid the bottom. And now it's, um, Sepp Green little stocks for some special effects. Sometimes I take a little bit off yellow quash in my tied Brazil's detail brush, and I'll just our little dots and dashes on these sort of conical oval shape centers up these flowers kind of gives them a little bit of special effect. So this was your corn flour. Next up, aren't Wild Animal me? So for that, I've got some permanent carmine under touch of Vince, a violet in my brush, really juicy mix. And now we'll start with 1st 3 petals and then remaining three in between. So one to three ed white space in between and now remaining three petals in between these so four, five and six let's see one more time. 12345 and six Now for a flight that sort of bent away from you. 1234 five and six. Keep one or two pedals sort of thinner and join all of them in the center for the centers. I'm using some sap green to kind of add little dots for the one that spent away from you. Just simply add a stock for these. I'm going to pick some yellow squash again in my detail brush, and I'll just add little yellow answer dots all around this green, leaving some white space in between green and the yellow can make it as dances you like, and then simply connect them with some sap green little stocks. The next flower is scape ius. So for that I'm going to pick some Eliza rain crimson in my brush. They come in lots of colors. So for this one, we're making center with Al Ezrin Crimson's little dots and now will change my mix to a little bit more pinkish color, and I'll make the petal slightly bigger. Now I'll change the mixto completely bank and no much bigger overlapping pedals all around . It's dark and up the center with a bit more Eliza in crimson Onda green stock. Now my favorite, our poppies. So for that I'll pick some alliteration. Crimson, really juicy makes and that touch of Conakry drone gold to it. Strict to keep them really flowy is not to worry about the petal shapes. So one DUP second doc, that's one. Pedal another full DAP. Leave it another full day, believe it and keep connecting them in the center. And while the center is still wet, take some indigo in your brush on. Just touch it in the center and let it bleed through. Let's practice it one more time. Really juicy mix connected in the center. And now, with just a touch off indigo, let him plead for the ones where you can see the center. Try to leave a little bit of white space between the pedals. Toe 12 three unforced and sort of curve the pedal around the center at the center dot with some sap green. And now, with the tip off your brush on the technics off indigo or lamb black or some kind of black ink at these little enter dots all around, you're suffering for the really flow it in, um, stems or stocks and for their birds, just a curve touch of sap. Green and then Alice Rain crimson to let it bleed. That's practice one more time, really flowy pedals and always a dark center. So this was puppy. Next up are the wild roses. So for that I'll start with the Kornacki drone gold makes and create little dots and dashes in the center. And now, with just a touch of any kind of pink permanent carmine in this case, I'll just add five pedals, touching the center in letting the center bleed. So really watery pink makes you don't want it to be too dark. So game the center Andi touch of pink and let it plead. That's at some green stems from leaves an outer doctrine of the central. Just add some blistering crimson dots, so these personal of the pink on red wildflowers. 6. Blue and Violet Wildflowers: So in this video, let's paint them blue and purple wildflowers. So in my mixing trade, I've got some Taylor blue cobalt blue, some lump like victory might not use some indigo Semenza violet. It's a science grave, which we meant no Jews, Israel. So for the first flat, that's a bluebell. I'm going to pick some cobalt blue in my brush and a touch of indica with it on a touch of Vince a violet. In the end, before I make the flight, I will make the simple on the stock with some green sap green in my brush and I'll just make a little long stock curved a little bit and upon top to green butts, followed by CEPAL Camp just three little and now with that blue mixture, push on as you lift your brush curve so to on the side and one straight down in the middle . Let's see it one more time. So some cobalt blue and touch of Vince, a violet push on Carver's. He left for the left and right and straight down in the middle. Let me show you a bit faster and more lose one to entry one do on three just at the simple cap, and you can add little leaves here in there. So this was your bluebell. The next flower is broadly a purple haze, so I've got some permanent carmine handsome Winsor Violet in my brush, and I'll start making little cluster small dabs off flowers, their conical in shape, the whole flower. So I'll start with little dabs at the bottom, leaving some white in between. And as I go up, I'm going to taper the whole shape. Third, making it in a conical shape, now adding some deeper Winsor Violet handsome touch of Taylor blue in there as well. And now, while it's still red, going to touch, a damp brush towards the edges do kind of soft in them up and make it look much more fuller . These flowers also come in darker shades, so this time pure Mintzer violet. Just add lots of wide space in between. Now add a touch of magenta in there. It's on some of this deeper value in here as well, and now let's often up the edges with the damp brush. It's not completely red. Just Tampa rush there quite dense, so add lots of green leaves with them. So this was there boldly happier place. The next floor. We're going to paint his morning glory. They grow in climbing minds. So for the flower, I've got some Vince a violet, and I'll add any kind of think to it. So for this time, I'll add some permanent carmine to it to just lighten it up a little bit. And we'll first make the flower park five petals very close together for on five. Leave the right in between them and while it's still that lets ads and magenta to the center just leaving, still leaving some right in between. Now with a very dirty, yellowish mix, I want to create a 10 conical shape at the bottom to turn the whole flower into sort of a trumpet shape. So really think Go. And now with sap green, a little CEPAL. Take some indie gone on fine lines in the middle of each pedal for the indentation. Now let's make another one this time with pure cobalt blue pedals. 123 four and five Quite close fuse together and now some agenda taker mix for the center unfit, that same dirty, yellowish mix, the little things going at the back, followed by the simple. Their leaves are heart shaped on quite dense, so you can make quite a few off them if you like. Let's make one more. And now, with some indigo, I'll make the fine lines for each pedal darken up the center. So this was morning glory. The next flower is a cornflower. So for the bottom part, which looks like a little picture or like a teardrop, I'm going to pick some burn number and sap green in my brush. So some burnt umber on a touch of sap green sort of dirty makes so that you can see both colors. Start with one do and then increase. 1231234 Now curve sort of the edges a bit, smoothing them up a little bit, and now we'll pick some Vince a violet in our brush, and we'll start in the middle and create little fine lines, varied them in their size. Hold your brush really tight and just use the tip off your brush. And now a big sum cobalt blue in my brush and for the outer little flower, I'll just make little dashes first and then at the end of them, little five pedal sort of flour. So just one dash and then spread it out in five pedals for a view from up on top will use, um, Vince Violet for the center. Little dashes all joined in the center, followed by cobalt blue, the first long dashes and then at the end of each little line will add this sort of five pedals spread out, and you can make this layer as dense as you like, just spreading into little five dashes. Now add the stuck. So this was cornflower. The next flower is lack spur. So for that I'll make some sub Greenstock little dashes, a top there, some green butts. And now I'll pick some Winsor Violet, handsome Carmine in my brush, and I will make little dear shape dams for the top little butts and fort up flowers a little lower than at five petaflop and connect them to the center so little five dabs un connect them. You can make them as losers. You like to give it a bit more fuller. Look for just five pedals on, connect them to the center, our lads and leaves to it fits, Um, submarine. Add a little bit more green in the center. Sometimes I also add a little bit of Karnak, a drone gold in the centers. So this was your wild Blacksburg. The next flower is thistle, so I'll pick the same born number on sap green mix as in corn flour and make the little teardrop shaped bottom. Let's try it one more time, so little dabs and then smoothing out the outer curve. And now, with some Vince, a violet and any kind of pink, I'm going to start making those similar fine lines starting from the center, carved them around a bit, make them as dense as you like. And now, with that same sap green and burnt umber makes a stock. Now let's make diesel. So for that I'll pick some cobalt blue, a touch of Taylor blue handsome indigo and will make the little egg shaped first. And now, with some indigo, I'm going to paint these spiky sort of samples of one dash long dash, followed by do dabs on each side. You can make this as defined as he like. I'm painting it quite loosely. Here they go on around the little egg shaped dark in a few more that's also used this indigo mixto Make little dots on the egg shape, and we'll also make a stock. Now the egg shape usually have lots of spikes on it. So for that, I'm going to use, um, gosh on my tighter synthetic detail, brush Feltus picks and white wash and make little dashes throughout this whole egg shape. It's just tiny dashes and sometimes dots to finish off diesel, so these were some off the blue on purple wildflowers. 7. Project-Wreath-Part 1: for this project. I want to create a wreath with Val Flowers and I'll be creating the composition as I go and I'll walk you through my thought process. So for a read, what you can do with start with a circle, create some equal interval slots and at these places are little compositions. So a big flowers and supplementary flowers and leaves and then repeat it all around. But there's another kind of read where you can create the circle, a bigger composition in one area, baker flowers, some smaller, some filler leaves and then a smaller version off it right opposite to it on the rest of the wreath is quite minimalistic. Will be painting this one today so you can look at different bouquet arrangements for reference. Onda. Let's start with the creating a circle with the compass. Seven years starting up, you can look at different floral arrangement photographs to get an idea and take some notes of how the flowers are arranged. I'll create a bigger arrangement down here on one small oven up on top so you can take notes off how the bigger flowers arranged. I usually don't sketch, but you can create a smaller reference sketch for yourself just really lightly, just to know how big the bigger flash will be in the smaller ones. I don't need to sketch everything because we'll be painting it. Quite lose. So today we'll be painting this composition with the flashy just practice or some corn flour. Some buttercups daisies, poppies board Lia's So we'll start with the corn flatter for corn flour. I'm going to add some burnt umber on Vince, a violet in my brush and we'll start with the gold. I put top one here on, uh, maybe one here. I'll add some Mintz a violent at the bottom. And now with my permanent carmine mix just very light, I'm going to add little pedals, all bent downwards and do touch the center so that it bleeds through a little bit. Now let's add some daisies around these flowers, so I usually go as I am painting, and I don't really have too much of a preplanned composition, so don't have too many off them, but they are going to be filler flowers, so do try to add them all around a bit. So with my garnacha drone gold mix and now with some burnt umber, all dark and up. Some of the bottoms off these daisy centers. Now with some money, makes off my blue and sort of dirty mix. I'm going to add the little petals for daisies and let the centers bleed through a little bit. I'll pick some of the extra grey fight with my needing gum just cooler out. I don't need to worry too much because most off it will get covered by the flowers. And now let's continue adding more pedals so you can change your dirty mix for these pedals a little bit by adding some other colors. But usually I do keep it the same. Onder always touch the center that the color pleads. Now let's add some good lier. So I'm going to pick some Vince a violet in my brush, and I'll just add one sort of hanging from here. They're quite heavy, flowers quite dense, so I try to make some of them sort of in a hanging and bent downwards. But I do varied around and make some off them a bit upward looking as well, So this kind of impromptu a composition sometimes does fail, so leave a bit of space for some trial and error. And if you're completely new, then obviously look at different photographs to get some reference. So I'm just touching now the edges of Woodley of it, of it down brush to soften up the edges. So I want to paint another layer of filler flowers. Let's paint some buttercup. So I'm picking Cem Karaca, drone gold and some transparent yellow in my brush, and I'll start creating these little four petal dabs. I'm painting them really loosely, so I'm not making them as rounded as we practiced earlier, and I'm putting them towards the outer edges off this composition. They're sort of filler flowers, and we don't want to attract too much attention to them will be adding there, enter dots on a little green centers a bit later. Now I want to create a poppy, so I'll pick some lettering crimson on a little bit of indigo in my brush. So try not to pick too much indigo, just a touch off it. And now, with one press of my brush, one pedal so you can see, I think I've picked too much indigo, so when you're making yours, try to make sure that there's not too much of into going there, allowed a little bit more of a veteran crimson and now, with a bit cleaner, Al Isra Crimson. I'll create another one right here. Just try to lift some of that into go back on a little side pedal here. Let's add Semitic. Go at the bottom. Now, at this point, with some sap green, I'm going to start adding little twigs to attach these flowers. So let's start with the Dane deiced poppy twigs and now rest of them. So you need to kind of disturbed, agile of them in sort of an intertwine way. And following the sort of the circle we have created, you can start adding little leaves with the same sap green mixture at this point, don't make them too dense. Just add some filler leaves here and there were going to reassess the leave concentration later. Oh, continue with the streak in the next video 8. Project-Wreath-Part 2: Now I'll start with the smaller composition up on top here, and we'll start with three daisies. So micro knock a drone Gold makes in my brush. Andi. Just three little dots. And now, with our dirty mix, I'll just make these little pedals for the daisies. I love how the centers bleed into the pedals darkened of the centers with some burned number. And now let's create the poppy. So I'll pick some Eliza in crimson and Conacher drone gold, this time in my brush. My idea is this one is upon top, so catching some lights amusing lesser indigo in this one and then into go at the bottom, just shaping the pedals a bit better. Now let's add one. Woodley are here, so I've got a mix off permanent Carmine and some Vince, a violet and on fun hanging down here. So just little dabs. You can try to make them a bit more defined shape, but usually I just do a little dance and then touch with little wet brush where the edge is too soft on them up a bit. Some Taylor blue for dissenter. Now let's start adding with some sap green little twigs so leaves and twigs. So I'll attach Poppy. That's some more flowers can add a few more leads, and now we'll start adding dressed of the read fit. Little intertwined kind of twigs. So just little 10 lines but a baby and intertwined. Just follow your circle guideline. Now you can start adding some filler flowers for rest of the read, so I'll start with Daisy here. I'll keep this look off unbalanced read throughout the rest of the read. So one here and two on the other side and darken of the center with born number. Now with some of my dirty mix, discreet the pedals and let the centers bleed. Now I'm thinking off adding some buttercups. They're not uniformly distributed, so just one next. Um, do these little daisies recreate itself? Good cognac, a drone cold and transparent yellow mix. I'm just adding these four petaled flowers. And now, with a little bit of sub green, let's add little centers to these buttercups. Just go around, find each one of them, and at a little dot now, with some off my Vince Violet and carmine mix, I'll just create one more. But layer here. So I do like to vary the mix upwardly a trout to read and one more here so you can see him repeating this little compositions at three of these places. So here it's a bit more permanent. Carmine less, uh, violet. Now just a touch off the soft, wet brush, softening up there at yourself badly, and now you can start adding some filler leaves. So for that I want to add the first layer of leaves, fits and green gold. Second, with our submarine and third fit indigo. Let's start with the first layer off green gold leaves, so I'll just pick some in my brush and start adding little leaves throughout the read. Try not to make them to concentrate it at one place. Just lift leaves throughout, and now, with some sap green, let's have the second layer of leaves. I try to vary the shape of the leaves of some Arbit elongated, some a bit rounded. Sometimes I add little baby vines that are coming out of the read Kind of gives it a natural and sort of a bit more flowy Field to the read, but do be cautious because they can make your read sort of out of balance very easily. So keep looking at to read from a bit further of a to see if the shape is still okay. I'll just keep adding little filler leaves here and there. Now I'm going to look at my read from a bit further, and I can see that it's sort of a bit imbalance at the bottom on. I can add filler leaves. Here are filler flowers to sort of make it a bit more heavier here, so I'll add to Daisy's. So the center is with Tanaka, Drone gold and then dark and a little bit. Now, with our dirty mix, I'll just make the pedals. Now let's add little details. Darken up these centers on little anti dots with either burn number or sub green. Do some of these buttercups just keep going around looking for buttercups to at the antidotes? And sometimes I also dark and up some of the centers of the daisies, but either burnt umber or indigo, sometimes just a touch off it. Some more little dots for the buttercups so you can keep going around and add more finishing touches. And now let's add some indica leaves. I won't add too many off them just a few, because we already have some darker flowers in the read, so I don't want to get too overwhelming. So just keep looking. If there's a need of more finishing touches, some more filler leaves. So I think I will stop with it now before I make it imbalanced. So let's zoom out. So here's your finished read on. You can add with your hand lettering, some coat in the center or a name, or you can leave the street as it is of the finished artwork, and I really hope you enjoyed this project. 9. Project-Hand-painted-Invitation : for this project. I want to decorate the part of this invitation card with some wildflowers. So they're multiple compositions. You can try. You can put the vault. Our standing up from the bottom up are you can take this whole area. Sometimes you can do a garland up on top. For now, I'll be covering this side on the small arrangement upon top. So before I start, I want to stop this card from moving, so I'll just tape back off it to my cart booked for these kind of invitations. You usually have a color ballot to work with, but if you don't, then you can obviously look for bouquet. Arrangements are like me. Try different color combinations and different floral arrangements. So this one. Let's start with some wild roses and other flowers. So I'll pics of garnacha drone golden my brush and just create these centers. I won't make too many. Maybe just three. And now it's impermanent. Carmine. I'll make them little pedals. So basically a five petal flower, one pedal, maybe a bit smaller. Just one small brush stroke makes him of them a bit fuller. It's dark in up some of the centers again. And now with the same cannot control on cold mics. I'll just add one daisy next to each of these flowers and now with my dirty mix on a bit of cobalt blue while at the pedals. Sometimes I vary the dirty makes up it out a bit more cobalt blue, but most of time is just the watery, dirty mix. You can make them as dances. You like our big scattered Better look. Now let's at somebody a purple haze. So I've got Vince, a valid and permanent. Carmine makes an artist on one of them right here, just little dams and then another one. From next to this life. It's a tailor bloom, adding a bit on deeper value to the centers. And now, with a clean red pressure, just softening up the edges a bit before removing. Just add some branches here to get a good feeling of the composition on where do we need to add more flowers? So I'm thinking off adding a Bobby here, so I'll start with Berman and Eliza in crimson and garnacha Drone Gold makes in my brush. We'll start with one little pedal here on two side pedals at a little bit more color and maybe one from upon top. So one more pedal and then once I pedal and now it's, um, indeed going my brush. Let's add to the bottom little dots Now with some sap green. Let's start attaching thes lovers through the branches with very fine little twigs you don't want them take, and it's start adding some leaves, just small leaves. You can go instances you like, but usually I like to keep them a bit scattered for this kind of gods. Make a little lines for Devine's What? I tries that towards the end of the line, the leaves should be really small and up on top of big. Bigger. Now I will add some indigo leave. Be cautious with them. Don't add too many of them Now, with some Konopka Drone gold. I'm going to darken up some of these roads centers a little bit on a little touch of a littering crimson, the little anti dots. But the same makes. I'm going to darken up the center of the daisies and let's get started up on top here with the corn, aka Drone gold. I'm going to make a little center for the rules on with Carmine Permanent Carmen these little pedals. But having said Violet and can my mix, I'll make fun. But Leah Purple Haze Not too big. Just a small one Next to the fly here, some Taylor blue for the Doctor Center And now with some garnacha drone gold. I'll make two centers for the daisies and now with my dirty mix, the little pedals. So instead of a full poppy making a little blood here. So first the green seven. Then the little flower Bedol kind of soft and end up adding a bit of a branch here and now we can start adding little twigs for the sub creen. Can I have some little leaves? A data? Little tweak here and there with some indigo, remember, shall add some to the center of the daisies here, spread them out a little bit. It's a bit too much with theoretically in brush and picking up some of the color back. And now with the same indigo makes L at tiny enter dot to the center of these roses, this really tiny and only a few on each of them. So I think this purple haze is looking a bit flat, so I'm going to add another layer of kanako drawn magenta. This time just little Dobbs a few to this one. And now, with better clean Russia, just often up the edges. Now let's start adding some indigo leaves to the smaller composition. At this point, you can start adding a little bit of finishing touches here and there. But I think the scarred is now ready. You can create something similar for other kind of invitations as well. 10. Bonus Video: as the bonus video. You can watch me pain. This whole spread with wildflowers. We have just practiced. Okay? - Yeah . 11. Your Project and Conclusion : as the project for this class. I would like you to paint. Ah, vile flower rate are sort of a mock up invite with the vile flowers and you can't even decide to paint the whole spread of al flowers as we practiced in the class, I would love to see what you create. So please make sure to upload your projects in the project section of this class. And if you're sharing it on instagram, please tell me and use the hash tag, my little basil underscore Skill share. I really hope you enjoyed this class. If you like the class, please consider leaving a review so that the class can become visible to more students. Keep an eye out for more classes coming up for me and have a nice day.