Botanical Rose -Step by Step

1. Class Intro: Hi, my name is Esther, and I'm a professional watercolor artists. I specialized in floral watercolor. Today, I'm going to teach you how to paint this beautiful botanical rows. This class is suitable for all levels and beginners are welcome to join this class. I will get you from color recommendation to variegated wash, black and white tones. We were pinned a rose petal by petal. And I will point out where to give more highlights and shading for the center of the rose opinion enlarged version so that you can see clearly. Lastly, I will end the class with teaching you how to paint the rows with lifting out pins technique. I hope you enjoyed my class and pin this lovely rose with me. 2. Art Materials : My PDF attachment was showing you all the pins, brushes, and papers needed for this class. And talking about the papers, it would be good to use at least a 50% cotton paper because you will be able to see the bleed very well. But if you're using cellulose paper, you will not be able to achieve the nice meeting. And it would be very frustrating if you can use a 50% or 100% cotton paper. Even for practice, then you'll be able to see the effects and results of nice meeting. 3. Botanical Roses Progress from Past to Present 2: Hi, Welcome to the botanical roofs class. Before the class, that's, I'm going to show you some of the botanical roses that have painted. This piece is a recent one. Let me go back to five or six years ago. I think this is one of the first pieces that have done. And I paint it with a reef editor. I like it so much that I make prints for these. I explore it and paint it more botanical roses with different hues. And I also painted this botanical piece with more angles. I love how the colors turn up subtle unmute. Recently two years ago, I painted a large botanical rules as I wanted to print my own cuts. These other roses that we'll be learning today. So let's jump into our class now. 4. How to draw Rose Step by Step: So before we move on to painting, I'm going to show you how to draw the botanical rules. Once again, you will have step-by-step PDF, several steps, and I'm breaking them into small parts. So for step one, we start with the number nine. I draw nine and I draw a shadow. You will soon find out what this is. Another loop for step three. And I'm creating a small bag. For step five, I draw another small open petal, if a shadow, this more full and closer. And then three other petals. For step 678, I draw another petal, which I describe it as looking like a year. That's my way of referring. On the right side, I draw another open petals, which also looks like a year. And this is Step nine, just in case you're not following. Step ten, I draw three more petals. Later on, I'll be naming the petals, which is also under Print. And you can refer to it easily when I'm talking about which petals we are painting. And we have just finished step ten. So let's move on. This is the center of the rose. I'm adding afforded petal. Here. I will draw two big petals, B and C. So after I draw these two big petals, I edit on another petal I in-between. So now you can see I'm adding on petals in-between. And again, between these two, B and I, I draw another big petal. And between b and k, I have another vector, L. For the right side. Between CNI, I drew another big petal. So there's a lot of pectus going on. And for the bottom between k and I will have a big pectoral. And now we will look at the overall shape again. I feel that I should have a smaller factor H here. So to balance it, I have another smaller Pepto D. Well, I think my rose looks pretty decent after drawing it. So I would like you to practice drawing these rules for about ten minutes at a ****, asking a lot. I'm doing this on a regular printing paper after drawing the rules. And if you're happy with how it looks, you can transfer over to watercolor paper and we will paint them picked up by petals. Have fun. 5. Tonal Rose: Right. Before we move on to our first practice of the factor, let me show you the black and white toner rows. Alright. This is the color print. In black and white, you can actually see clearly, which is the Docker tool, which is the medium tone, and which is the lightest tone. I'm sure that you can see it very clearly. So I'm just pointing out to you over here. And here. The other adapt, these other doctrines. And all these. I'm just showing you some samples. These three lines do not represent only treat that twins. So now I'm pointing out more of the darker tones. When you're painting the roles you will know when you have to draw in the darker pink mix. And for meat tool, it is actually created when two darker tones or blended. So this is the in-between tones. We also have highlight like this. And maybe I show you a color printer. These are most white, even these are very light in color, and all these lines here are highlights too. So when you see that it is very quite, we're not actually adding white people. We're just not using any pins. Water. So just remember about the different tools. And then you are having difficulty in differentiating the tools. Just use this as a reference. 6. Painting Technique - Variegated Wash: So let us get into our first step is the lender pin, variegated wash. I've drawn pepper n, and now I'm applying a tin glaze of water over this petal. The paper I'm using is 100% cotton paper. So it stops at water very fast. When painting this, I suggest that we do not work with a fan directly above you. This is shimmy rose madder. I'm mixing a slightly mid value rose madder. I love this vibrant pink. And I hope you have done your swatches to. So this is rose madder participants. If you'd like to get a more subtle color, mix, rose madder, and potters PIM. For proteomics. And this is a lighter value and try to graze near the pencil line. So when we dropped the pins from left to right, you should see a soft cotton H like this. And with the water, the paint spread very fast. So this is my top layer. I like to give depth to the indent areas. Now I'm quoting my paper a little tube to allow the paint to flow down. Very quickly. I turn the paper to the opposite sector, work on my bottom petal. I'm dropping pins on the bottom of the petal. When a pencil wet, you can see that the pins through is very magical, isn't it? I'm adding depth again and tilting the paper a little bit to allow pins to flow downwards. Wash my pins and a tip excess water under Soviet and holding my brush a little lower. I blend the two ages. The Brenda area, this is a mid value and the center here is beta highlight. We have actually painted. I'm using my number two, round brush loading with rose madder and madder pain is still semi dry. I'm adding in TIN lines because we know that roses have fine veins, don't worry. I'm happy with how Saturdays lines loop. We are actually working on one Petr. Make sure that your brush is not too wet at more depth on the indented areas with rose madder. So apply pins here. Well, we have finished with this petal. I hope you will take some time to practice. So see you in the next lesson. 7. Painting Petal By Petal A: So we're back with painting pet to n. I'm sure you had fun painting this. And now we are actually going into real painting. You should have enough practice before you move into painting this anisole, you should look at it to none again. So I have provided you with a color print. Refer to that too. As I mentioned, this n that we have done. And I'm going to pin and another one here, something to take note. The petals surrounding the rows at data inputs. And actually all the petals are lighter influence. And apply the mid-value mixed, allowing the pH to spread from left to right. Tilting my people a little higher, the pins flew down and I deepen the indented areas again for more depth. Now you can see that beautiful bleeding. I love how this looks. I remember after this step, I have to wash my brush again, set of excess water and hold my brush to just blend the pits. By holding the brush though, the water from my brush, if any, is not flowing down fast. What painting, this big petal n here, you need to take note that you should not paint the petals next to it. If the pentapeptide is not dry, it might get messed up. You should go to Petals m, just to check is the corner is dry. This petal is durable. Cost is something that we have learned. So big leisurely of water again, very neatly, making sure that the water doesn't go beyond the pencil line. This indented area has a lot of shading. So I turned my paper very quickly again and drop the pin from left to right. Since my brush tool has Pin. Now I wash my brush, tap the excess water and Soviet hold my brush a little low and a blend the pins. Lenny, according to the contour of the petals. It's this way down. Once again, I'd like you to refer to my color prints. Now we can move to pet the key. I have grace. What are other petal applying pin as previously? More on the indenter areas. And the non-indented areas will be less pain. After this, wash your brush again, PEP excess water. Lowell your brush again to blend the two ages together. Shipping the pencil lightly so you can actually see the highlights. Again. We have finished factor k again. Now we move on to the smaller petals, petals D, and the smallest pectus. I liked the importance, as you can refer to my print. So very, very light mixing brush. I apply on the glazed area and I just blend like the lease term. Without washing my brush. I like to have a little more shading. I just add on, but just take note not to overdo it. So the standard game. Next, we move to another smaller vector. O. Crazily you of water again, observe the areas to apply more pin the indenter areas. So these go in these two. And here is the indented area. And these. So we quickly wash and excess water and Soviet and holding brush loop. We blend it. This is a very small Pacto enlightened tool. Once again, be finished this Pepto. And let's move to pet the GI gracefully of water again. Apply your light mix more on the indented areas and less on the less control areas. This is the technique that you need to remember what painting. Again, holding my brush to blend the two ages together. I guess we're finished a small petals. Now we move to e. You said that easier Pepto to work on based on what we've learned from petals n In the previous lesson. Apply more pins on indented areas. Again, refer to your color print. There are a few indented areas. Since it is long. I'm applying a little more depth to some indented areas again. So now I blend the pins up. What's shot strokes upwards, lending them. I actually miss out this portion. So I need to add more pins to form the shape. Looking on it slowly. Next we move on to pet the g. Applying a team glaze of water again and light mix up paying an indented areas. And again, we blend lightly. So you can see that all the pentose outside a very, very light. Now we are moving to Petr L, which is a latch Petr and has a Latina brew. So I have to get ready. My blue grace, a thin layer of water again. And apply more mid-value pins on the inventor area. This patch here, as this is also a large packet. I don't more pins on the second layer before it dries up. Applying wet on wet technique. You're familiar with this? Now I moved back to apply on the bottom of the petal and on the indent areas again. Here and here. While it is still wet, I wash my brush, tap the excess water and Soviet, you see we keep repeating on the same process and techniques. And I hope you have remembered this. Strip your brush to blend the pin slightly. Earlier on, I mentioned about the blue tint. So now I'm picking up the lectin off boom. Applied lightly and blend the pins on some areas and blended densely. I believe we've finished this pattern to hope you can see that there are highlights on all my lunch peppers that we have painted. Had fun painting this. 8. Painting Petal By Petal B : Now we are painting pet a, B, and C. And even this Petr, that looks like a year, which I mentioned in my earlier class. Let me welcome Pat to see. I have a plate, a thin layer of water, better see. And I'm applying my higher value mix on the indenter area, which is this bowl, which require a lot more pins and shape here. And this other indented portion, and this part where there is a slightly then here and here. And very quickly, I wash my brush and stripped my brush from top to bottom. The blend pins. We can associate backwards to blend. This is how it goes. The pins here I'd like to edit more **** on this poll again. For these petals, see what it is still wet. I should pick up the pen here to create a shine. Now we have finished pet to see, and I'll move the vector b. Once again. Take note that you need to apply more sheets and pin on this portion. So I apply the glaze again. Okay, we are ready to drop our higher value mix here and turn your paper. Will apply the pins. Take note of this pole here. As I don't drop the pin decks. Applying pins on this more indented areas, owning an adding slightly more pins here. Quickly wash and tap excess water again and blend this petal. Looking at very quickly to see that effect. And yes, I'm sweeping and picking up the paints to create the shiny thing. I'm showing. You can see these. I feel that I need more shape on the bottom of the petal. Also adding a little tint of blue. A little here and here. The shadow and neat more sheets. And so I add up more. And I'm sure that you can see that the rose petals are coming into shape now. As mentioned, sometimes you can get them very nicely, but sometimes because of the timing, the blending may not turn out as nice as we hope to write for this piece that Petraeus turn out very nicely. The foal looks very 3D. The secret is that I'm using at-risk people. Now I realize I have a hash line at each, which might happen to some students. So I need to work on this later when it is dry. Sofa, trouble. Getting back to Petr see again, as you can see, that the colors after it's dry gets fainter. Glaze it again. We call this technique wet on dry. Lot more pins on this board game and on the indented areas. And I'm going to blend with my clean, damp brush. Again, your people and sweep your brush is just that you are shading with a pencil. But now I'm blending with my brush. So I'm quite pleased with how it looks now. Let us move on. Now to pet the key. I would like to work on pet turkey again from previous class. As the pin has become a lot fainter after it is striped bass overbooking. And now I layer a tin of like blue on the indented area. I feel that this way of grazing book Spector and small, manageable. I think I love how it looks now. So now I'm getting back to this hash line again. Using my clean them flat brush. Who loved the pins that form the hash line? As I mentioned, sometimes these will happen to some students. These is how you can amend it. So I've mentioned this is how to fix that hash lines. Well finally, we are working on the pattern that looks like a year. Lisa Lee of water. And we're applying the water thing about where you are applying more pins. I'm sure by now you know where to apply more pins. Great. You guess correctly. Yes, it's here. So we dropped a higher value of pain mix here, here, and here. Checking on the indent, erase again and drop in more pins again for more sheets. Once again, we've clean damp brush, strip up this path. And at the same time, I worked on the blending with strokes booking from top to bottom. Well, can you actually see a small year here? I'm sure you do. Now we're going to move to Petr I recently of water again and quickly apply a mid value of pin mix on the indented area. Hi Bill, identify them. And turning my paper to apply on the bottom of Pepto, I believe that you are familiar with the steps of painting variegated wash. Now, after washing the brush, you blend the edges. Like me. I noticed that there's some blue team and work on it after it is dry. Check on the areas that you need to add more sheets. I think here. I think it's here. I think I'm pleased with this pattern. Now I'm working on this pole that is below pattern. Using a high value, I go straight to pin this portion without glazing with water. And basically painting this area with my high value of pin mix. Now we need to add more sheep at the V-shaped area. And some of the indented areas as this part of the rows is pretty dark. So you can see that the botanical rules is slowly revealing itself. Now, I'm going back to some small Pepto, them mixed up. I think this little petal here, penta hitch, apply a glaze of water again and a light value of pin mix on the Indian area and with a clean brush brands likely. Now, let's move on to peptides, which are observed the etas a few fools after glazing applied pins on the indent. Again, I believe we are really, really very familiar with this now. But if it's your first time painting, I will keep repeating the steps. Reapply pins on areas that we need more shading. Just referred to my toner. If you need to. Get to. Next, we move to pet to see which must be set to eat. Apply the grease again and drop mid-value mixed here and here, and a few indented areas and blending lightly with my clean damp brush, this brush holding low. Now we move to pet the crystal layer of water again. And with a light value of P, we apply on the slant and then erase top and bottom. So finally, we finished a main chunk of our rules and we will move to the center of the rose in the next lesson. 9. Centre of the Rose : So we're going to start the center of the rose, which is only this portion. Further detail center of the rose. I suggest that you use it number two brush, and later use a number six for the bigger ears. Apply a glaze of water again and drop perylene maroon. This part here is very dark. And since it is still wet, I will not work on the surrounding petals first. So I walked on this outer portion by placing a layer of water. At the beginning of the lesson, I mentioned that all these lines are also highlights. And so I'm leaving some white spaces intentionally because roses to have a tin thickness, though they're not there ethic. Back to this petal, pluck them, meet their looping on these V-shaped corner. Now we look on the other side, making sure that the center is dry and dropping pins on this other corner. I'm adding on more shape with perylene maroon. Remember, there's a thin line here. So I make sure that you will not touch when applying more Greece. In case it gets messed up. This path should have more PM and this indented area to this part should have more ****. And I will drop more pins and brain. Remember the branding stroke is from H to H. I need to add a little more pink on this slightly indent areas. This portion here is actually this part. I believe it should be dry now, this little folder here is so tiny that I need to switch to number two, brush, apply some sheets here and here. Refer to my rose print. A little more pins on the phone line for more depth. Just wait for it to dry. I'm going back to number six again and dropping more pins here. And here. In Fayette here, I dropped more pain for more sheets. Let's blend again. And all the foods needs more sheets. Now we look on this, Add a full apply glaze and drop pins for more sheets on the indent area. This is the overlapping of another petal. That's why we need shading. I will quickly blend this portion. So now you can see the false right? Now we're working on another petal full play Greece again, and add on more pins for shading. Actually, we are completing our row soon. I'm working on it and latch piece so that you can see better. This will be the path that it has more highlights. Now we work on the big picture here. Apply glaze of water first. Be careful not to run out of the pencil lines or else it might get messy. I'm dropping pins on the areas that testimony shading. I loved the company feel how the pin split. Now, more pins on this indented area here, more on this tip and then the path. And now on top of the petal where they are smaller indented areas. Yep. So now I worked a bit faster before the water dries up. Pull my brush low again to blend the two ages together. So I just blend them again for a more natural few. Pulling up some pins from the bottom and creating full lines at the same time. And switching to around two again. I also add Vince, when the paint is still semi wet. Makes me work on this lower large petal. Apply glaze of water again and then drop mid value P and more pins on the V-shaped corner, which should have more shading. And a lighter value here. Tin line here to show the thickness of the rose petals. And a brand that, that very pins with upward strokes. And I love how this looks. The gradients looks amazing. Play a little value of pin here to review the thickness of the row speckle. Next, we'll move on to this big fall below recently of water. And now my water is actually a lower pH, which works for me. Quickly. We apply a high-value mix along the full line. And I'm actually coming to the end of painting the rows. And I believe you know what I'm doing now. I have washed and tap excess water and subject before blending the ages together, moving my strokes up and down for a smoother blending. Next, I apply high-value pitons below the full line again to create shadow. Now apply a tin water glaze again before applying a mid-value pain from top and blend it gently. Well, we have completed this center of the rose into practice and pin your rows. See you in the next class. 10. Painting Leaves: I have placed a layer of water as usual and apply my mid value green mix randomly on the large leaf. More higher value of perylene green on top and side. I also add some rows metal on my palette to give some interesting hue to my latch leaf. I'm actually working quite quickly before the pins straight up. Now I move to the folded leaf with a little dirty water from my jar. And I just want to talk further laterally, the pins will not dry up. This is the inside of the folded leaf shape behind the full. Now I go back to the latch leaf and with my flat brush number ten, holding upright, I lifted up the pins to form mean vein and the subsidiary veins. The veins to look natural and not to string. I think this is looking good. Let's go back to the folded leaf and apply more shades of green and blending on the pins. As adept in. I also added in some metal rows here and blend in with the greens. While waiting for these leaves to dry, I work on another larger leaf with the same technique. Grease, meat value pins, high-value green again and pink for interesting hue. Now I'm going back to the folded leaf again. Using my number ten brush to lift up the main vein and subsidiary events. And also the other latch leaf, we're just looking really good with the contrasting greens and pinks. As to paint this smaller beads painting according to the contour of the leaves. For a more natural field. We have to go back and flow. Now, I'm going back to the food that leaf again, Grace water again and apply mean value perylene green on the lower portion. And sweep brush upwards to blend the pins. And before it dries up at a little more shape with the same mix. Blend again. I'm really pleased with how this turned out. And our next lesson will be the final details. I'm excited to see you again. 11. Final Details: Well, we've come to our last lesson. Finer details. I'm going to moisten the whole painting rose with a tin grease and water, making sure that it is fully dry. So some of you asked me, where do we add the yellow hue to have a warmer hue, gray severity in Greece of lemon yellow on the spots that I'm Mark why on the print? You don't have to follow exactly where it should go, but rather randomly. Don't panic if you talk too much pain, but just soak up the excess paint. I'm using blue for this area to add more shadows and contrast and glaze a very light ones on some petals. I think it's looking good. For the veins. I glaze it 10-day of water again. And using a number to round brush with meat, they're looping. I painted some beads on the bigger petals. Unless I'm painting a large row, select these. I think it will look nice to have more detailed Vince. If not, I will keep it simple. So now back to my painting. You will see that this rose is actually this. So you can actually compose your Florida Reef. One rows here and another identical one here, but hidden partially and a smaller one. The one with the center of the rose and just add a few petals. So you will have three roses are ready and in the leaves. So do enjoy painting this beautiful botanical roast. And I do love to see your projects.