How to paint red roses bouquet in easy loose style | Olga Koelsch | Skillshare

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How to paint red roses bouquet in easy loose style

teacher avatar Olga Koelsch, Watercolor artist and Pattern Designer

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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

    • 1.

      About this Class


    • 2.



    • 3.



    • 4.

      Watercolour Techniques


    • 5.

      Practicing Roses


    • 6.

      Common Mistakes and How to Fix it.


    • 7.

      Practicing Greenery


    • 8.

      Working on Composition


    • 9.

      Colour Mixing


    • 10.

      Painting Bouquet Part 1. Roses.


    • 11.

      Paitning Bouquet. Part 2. Greenery


    • 12.

      Painting Bouquet Part 3. Details


    • 13.

      What's Next?


    • 14.

      Join my Membership!


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About This Class

Hello friends!

I am really exited to take you to the journey of painting loose watercolor flowers and see how your art will develop and bloom through all the lessons.

This class will be about painting a splendid watercolour bouquet in a relaxing, intuitive manner. I hope that you could feel that painting even of a complex picture could be enjoyable, entertaining and satisfying.

As we get through all the course, there will be practices for each simple stage so you could learn techniques and bring it into action.

As a result of the course we are going to paint a winter roses bouquet where you will be able to apply all the practices and arrange an eye-catching composition.

My class is about intuitive painting, free-hand painting that comes organically  and helps you develop your artistic skills.

You could use your favourite suppliers for the course or  follow my list as a guideline. But the most important  thing is to start just with what you have right now!

I encourage you to share your projects with the others, here on Skillshare, on Instagram etc  to support each other, being more and more confident with bringing your artworks to public!

Let’s connect!

  • Follow me on Instagram - to get more inspiration and a sneak peek on how I turn my paintings into commercial designs and patterns.
  • Follow me on Skillshare - to be notified each time I release a new class. Just click the “follow” button ❤️

Meet Your Teacher

Teacher Profile Image

Olga Koelsch

Watercolor artist and Pattern Designer



Hello friends! I am Olga Koelsch,  watercolour artist and pattern designer living in Norway.

I started my art career in traditional botanical illustration but later on I focused on modern watercolour techniques and loose painting as it has more flexibility and have a high commercial demand.

I love intuitive painting, free-hand painting that comes organically but nevertheless based on knowledge of colors, techniques and composition rules.

I create whimsical watercolours in delicate painting style combined with bohemian touch and expressiveness. I am also known for transparent flowers illustrations (or X-ray flowers) which are becoming my personal signature.

Being a full-time artist I run profitable shops on E... See full profile

Level: Beginner

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1. About this Class: Hi friends. I'm Olga coercion. Welcome to my studio. I'm a watercolor artist and a pattern designer based in alright, thank you so much for joining this class. This means a lot to me. I already have a YouTube channel where I teach watercolor painting. But I realize that YouTube tutorials does not allow you to show all the practice, all the tips and tricks in one video. So I decided to create this class. And as we get through all the steps, we will practice each and every single stage. So you could learn techniques and bring it into action, which is crucial, put theory into practice. As a result of the course, we are going to paint a beautiful winter, roses Bu care, and practice to create eye-catching composition. My class is about intuitive painting. Free can't painting, which comes organically and helps you to develop your artistic style and practice your artistic skills, which later on might be turned into commercial designs. You could use all your favorite supplies for the scores. Follow my guidelines. It's important that you just start with what you have. So let's dive into painting. 2. Materials: What we will need for this course is watercolor paper. You could take either 100% of cotton cold pressed with very soft texture or just, or usual watercolor paper. It's important that it is for vertical or not for acrylic painting with cold pressed, with soft texture, at least 200 g. Best, if it will be 300 g, I would recommend you for practice intake of the cheaper paper. And for the final project, use 100 per cent of cotton paper. That's how usually I do that. We will need two brushes, round brushes with very, very nice tip. I would recommend you to take different sizes of the brushes. E.g. 4.7. I will get you all the recommended links and a list of materials. In this course. We will use just three colors. That will be Alizarin, crimson, burnt sienna, and a phthalo green. Of course, you could try to paint with your own mixture. But my goal is to show you how to create a nice variety of colors using just three of them. We will also need a glass of water, tissue, paper towels, kitchen towels, or some piece of cloth. To dry your brush. You will need a pencil, just the one which is convenient for you, and maybe some soft rubber soft riser. And you would also need folate for mixing colors. It could be like these ceramic palette or some plate from white. 3. Brushstrokes: Practicing brushstrokes, I would recommend you to practice, at least with two of your brushes, to get hand to the weight of the brush. How you hold each and every brush. It's very different feeling with each brush. So let's start with the basic C strokes. We put our brush on a TPP, paint a little bit with the tip of the brush. When start to press the brush on the paper, make some round around and let it go. Tuples the block, belly of the brush. Tip of the brush. Let's try a different direction. Tip of the brush. Belly of the brush. Tip of the brush. As rose bud consists of many, many petals. We're not going to paint each and every, but we are going to pay it an illusion of petals. And all these petals are overlapping. So that's why we practice our brush strokes like this. With painting it overlapping. We painted in different directions, e.g. from bottom to top. Not necessarily from top to bottom. Let's try this out. Tip of the brush, belly of the brush. Tip of the brush. Nice. Tip of the brush. The brush tip of the brush. Try to avoid moving paper. I know that sometimes it's very tempting to paint everything from your work inside. It would be really nice. It would add to your artistic style if you are able to paint with your wrist, with the most of your wrist. And so try different directions from top to bottom or from bottom to top. Right side, left side. In different directions. More vertical or more flat, more like this. That's a band will help us to shape a beautiful, nice roles. And once you're happy, try the same thing, your other brush. And you will notice how different it could feel with a different brush. Although the principle is the same. Tea pot belly of the brush tip of the brush, tip of the brush, belly of the brush, tip of the brush. Different directions. Different curves will happen. Petals. That's how we do it. Another brushstroke. What you try to test is just painting with the side, with the belly of the brush, with the side of the brush. And you will need this when you paint e.g. flu. You will need it when you paint a falling out petal, e.g. in the roles, roles open, this beautiful petal looks at you from different sides, from left to right. From right to the left, your, put your brush on the paper and paint just to the side with some wiggling vinculin. Vinculin moves, try to make a curve. All this thinking curves, no straight lines for flowers. I will talk about later what to do with stamps, etcetera. Once again, let's try it with the other brush. Press on the belly of the brush, make some wiggle moves. I'm try to finish with the tip of the brush. Nice. The last thing we're going to practice is a dashed line, which is extremely important when we paint flowers. Because dashed line, It's treatments, Winds, stamps, and greenery. Sometimes. We really need our hand to be confident when we paint the slides. And you might think that the thinner the brush that better. But that's not the point. Important that your brush has a very nice thing. So in principle, if you have a really good brush, you could paint the picture just with one brush. Try to bring, as an exercise. Try to bring all the dashed lines to one point. And paint this line out of one point. Try to move quick and hold your brush relatively close to the Harry Potter, so you have more control. And the same with a thin brush. And while you're practicing saying things with different brushes, you will realize for which types of strokes, for which types of size leaves. You'll feel more confident. So you will understand your brushes much more better. Try to paint out of one point. Try to bring all the dash strokes to one point. And it's not necessarily should be a really well painted line. It could be, it could have a lot of gaps in between. That all makes a painting natural and spontaneous and more artistic. 4. Watercolour Techniques: For training different techniques, we will need two brushes. One is loaded with watercolor and the other one is just with wide, with clean water. So let's start with the first brush. I start to paint the middle of the rows with small strokes. At some point, I switch to the other brush and go along the edge and soften the edge. I clean my brush. I go alone, the battle and let watercolor mix and bleeds like this. And again, all over the other petal. I always have a paper towel around. Once I clean my brush, dry it a little bit with with tissue, paper, towel, another petal. And another petal. I would recommend you to paint in this technique not more than two petals in one goal. Otherwise they will dry and that will be a bit of a difference. You still have some product on the tip of your brush. So you could add few very tender soft details around. Then you switch to the other one. With watercolor one. Sometimes it might see very complex when you paint with two brushes at the same time. But trust me, it's much more handy than you have to wash your brush each and every time, after each and every stroke. And it also saving the products and your time, which is always pressure. And that's how we painted roles with softening the edges. This technique is great because you could really add a lot of softness, touch through all your painting. Let's try another way. Now. I load my main brush with relatively light product on it. I again start with the middle. I paint some petals. But you see this term, it's much more diluted because I would like to mix colors right now. On the other brush, I take a boulder mix and I go along the inside edge of the petal and you see what's happening. Our bold watercolor mixes with the water E1 and creates the nice bleeds around. I could do the same trick as before. I could soften the edges, but now with my watery call, with my watery brush, what you have to keep in mind is the shape of the flaw and how petals are overlapping. How the petals growing from the central tool, tool, the sides, they get bigger, they get small, light and soft, and sometimes, sometimes the petals are bigger. And the paper dries milkweed. So you could just go alone with your watery brush. And virtually to gain some water. At this point. You could help with the tip of the brush. You could add some details like wines or some Corey shades. Details on the petals. Because some petals, they have these six sock away the area you could edit on this stage. Have a look. If some areas feels still wet, maybe you could go and add a little bit more of product in here. And the third technique is slightly, is a combination of both. First, we prepare the bottom part of the background. Let's say you have to remember that watercolor does not have white-collar. What we are going to paint white or very light should be just left on the paper. Our paper is our white collar. And you need to think in layers. From light to dark. We always painted from light to dark. Not possible to do it in the other way. So we prepared a back ground for the roles. Now we just combine all these techniques, e.g. it is a little bit still wet in the middle. So I could drop in some water color around in some areas and just let it let it fall. Some areas you see already dry and watercolor doesn't doesn't go anywhere. It just stay as a straight line. And now we repeat the same technique with clean and damp brush. I go along and soften the edge. I go along this dark area that's often the H. And I could correct some shape. I made in dashed lines. I'm adding shades now. With the second layer. I add some shades. It takes time to get handy to remember that. First with painting light, and secondly with paint and shapes. But that's, that comes. And the shaded part of the roles, this is where petals are collected. It's in this area in-between petals, roses, e.g. here. What I'm doing, I'm painting the darker area with clean and dry and dump brush. I just soften the edges. And as I very much like artistic feeling, I'll let it flow sometimes without corrections from my side. But sometimes I would like to add some details and reflect a little bit. This technique is very handy if you like to have some control over watercolor. Because when we page like this loose, it's very spontaneous. It's very fun. But sometimes it's unpredictable. When you paint in layers, you could build up your roles step-by-step and have a little bit more of a control. And of course, painting layers, it gives you more variety with adding colors. Because not all colors nicely mix right in the water. But when they applied to the paper, they could mix very nicely. Soften the edges. At details. Always have C strokes. You see I create C strokes. Maybe it's a different kind. But in principle, it's all C strokes. I could correct and soft and some edges as we did before. Just like this. And the darkest part of the roles is the middle part. So it's always nice to come back with very, very bold mixture and add a few details to make it really, really contrast to everything. Make it very sudden. Just like this. 5. Practicing Roses: Let's practice our rules painting. I prepared two brushes. One is loaded with the product and one is just clean. And we will need them both. We are starting from the middle with small, tiny strokes. Tip of the brush, belly of the brush, lettered comb is it's easy for you. You could change the brushes and start with the smaller one. Tip of the brush, belly of the brush, tip of the brush, belly of the brush. And now as we move in a little bit far from the center, we could add some water and soften the edge. Just as clean brush with water. Just a little bit. Should be noted that watery. I soften the edge. And I'm kind of jungle with all brushes. C strokes, tip of the brush, belly of the brush. Let it go. Tip of the brush, belly of the brush, let it go and soften the edges. Not necessarily alone. All the petals. The more variety you bring the baton. Once you feel that you are bored or making something, repeat and repeat something again, it's time to stop and change a bit. This software, some brush strokes, some, some notes. And maybe one more final row, one more final battle. The big one. Like this. You see IVY, the size of my brush, the pressure on my brush to really create something mod boring. Mulatto, too little bit of watercolor. At some fine lines, some details. And maybe as a lost moment thing, add a little bit more contrast to the middle, because that's the darkest. Watercolor. Just do it. So that's one of the roles is another roles we will paint from the side. That's very similar principle in the beginning with paint, the middle part with C strokes. But after that, we are bringing our sister oaks, not around the middle part, but we are bringing our strokes to the point where stem starts, like this tip of the brush, belly of the brush to soften the edge of the brush. Brush, brush, brush. Some extra petals. On the top. Teapots a brush, belly of the brush, tip of the brush. The brush and enlightened and calm and soften the edges. And fun to paint one petal which is falling out bit tip of the brush. Brush. And all the lines are coming to bed, central point where the stem will start to grow. I didn't some dashed lines and some more petals. In this stage, you just add some artistic touch and some watercolor effects. Like with a clean and damp brush. You could lift up a little bit of color. Soften the edges. If necessary. I will paint the stem just to look at more natural. This is our rows look from the side. Another way to paint rose is dry and wet technique. We first prepare the first layer. Very light, very, very light color. Relatively poor throwing. Painting with C strokes, making just brushstrokes around. Leaving some more Gibbs is always nice. It creates the airy feeling like this. Think that's a nice one. Now, you could even take your product right from the, from your pledge to make it more dry. Soft. Tune, add a second layer, which says strokes. Same, same technique. But now you see that strokes, the dry product dissolved. And so often in these watery background. And in some parts of the background is already dry, which creates more sharp lights. And from sample here, it's still a little bit wet. And that also creates different texture, which altogether gives us a big variety. And interesting, more interesting design. What interesting shape or false, not very flat. At some dashed line. Maybe correct this for a little bit weird, but that's okay. You could just wash your brush and add something else, something nice. Just here. Again, if you are not happy, e.g. with the spot, you could wash your brush and soften the edge here. But be careful once the paper starts to dry, it's better to stop and maybe paint over the top. E.g. you are not very happy if you're not very happy with this exact trolls, wait until it's dry. Add more brushstrokes around. That will add more depth. Same principle says strokes. But try to do them rather different. In a way cultic. And remember that the darker parts should be in the shade. So it's usually where two petals are, two layers meet some dashed lines around. And that's how you got more variety and more sharpness to your painting. Same. Here. You could add with the second layer a little bit more depth. I will stop here. I hope you got the idea of painting roses. 6. Common Mistakes and How to Fix it.: The first mistake I see a lot of times is then difficult to recreate. Then the roles is to ornamental amine when the, the brush strokes are the same, almost the same length, almost the same distance. Like this. Maybe I slightly exaggerated. But that's the point. It's too ornamental, it's kinda fun. But it's not artistically pleasant. It's not catch here. What we could do in this case, we could take a clean, damp brush and soften some H's. Filling the gaps in-between. Not all. That will make a big mess, but some edges, especially which are look wet for now. If you soften them just a little bit and add some dashed lines in between, that's already looks a little bit nicer. Some dashed lines. So the idea is to avoid these ornamental filling because we are not painting the stylized fork roses. We have Painting artistic Croesus, and that's what's all about artistic. Okay. I think that's slightly better. Maybe some more fluffy H's around. Another mistake I see. Then you paint. It's usually happens when you paint with too wet watercolor. And you try U-shape, U-shape your roles. And at the end, it's a big loop. Just like this. And especially even if everyone it is, a very round blob also could be fine. I saw sometimes the tin designs and in preference also possible. But there is also a way to improve this thing. If it happens when you paint, when your watercolor is still wet, you could add some dry color, dry product. In some areas. Note on the top of everything just in somewhere else with strokes to put the belly of the brush tip of the brush. That's how we create a little bit of volume. The next thing you could do is trim. She brush, clean your brush with tissue paper towel, and block out some color. That adds a little bit opaque white areas, which makes our roles more dimensional. But again, be moderate. Try not to block out all the, all the flower. Just summaries. And after it is completely dry, you could add more texture, more of strokes around to create, to make it more interesting, more multicolored, oval I paint just with one color. It has a feeling of different traits in it. The last, I mean, there could be much more many mistakes, many more mistakes about one of them. Very popular. Let's say when somebody paint petals or leaves like these, outline and then try to color in the petal leaf. It could be lethal. So it usually comes when you like this coloring books, which are very nice and mind relaxing. But we need a bit of different technique here. Try to paint the petals, especially big petals, just with the side of your brush. So you put your brush and in principle, you, What's your paint? You paint in a brush strokes. No outlines. No outlines should be rare. And while your paper is still wet, it's easy to add some texture, some wines and some details. 7. Practicing Greenery: For painting leaves, we in principle need the same technique as before. We start with the tip of the brush, then belly of the brush. And when they lose the pressure on the brush. Same what we did with roses. And now I will show you how to create leaves with the help of face shape. In principle, this could be a leaf as well. But let's do something more interesting. Tip of the brush, belly of the brush, tip of the brush. And go back to the same point, tip of the brush, belly of the brush and leave a little bit of white area in between and finish at the same point. And now we get these very certain leaves, middle wine. And now let's paint another leaf, tip of a brush. Belly of the brush. Tip of the brush. And we go back from the top to bottom, right now, tuples the brush belly of the brush, tip of the brush. This is a leaves, you could paint eucalyptus leaves in this style. Some roses leaves. Roses leaves have some six OK, six sack around. To emulate this. The Press our brush. And again the bristle brush. And press our brush. You lift your brush and go back. No need to paint all these six oak leaves. We just need to get that feeling. And same for the other side. Just few. And leave some white area in-between. Let's try the other direction. You start with the tip of the brush. Lift your brush, go back and create some very soft seek sock Hs. And then you go back to the same point. Add a little bit of h's. And you think it's a little bit too sharp, It's always fun to correct. Another type of greenery which we need is usually called fillers. Extra greenery form for bouquets. Same technique, tip of the brush, belly of the brush, tip of the brush. But in this case, that's already elif. We could pay and stem for the whole branch and decorate it with leaves. Tip of the brush, belly of the brush, tip of the brush. Try different directions. Tuples that Raj belly of the brush, tip of the brush. Sometimes it's very tempting to turn the paper and paint everything from your side. Try to avoid it because it will make all the strokes a little bit too similar, I think, in curves. So don't note page these straight lines. It's very rare when the greenery grows like this. Think it curves, tuples the brush belly of the brush, some wiggle of the brush, tip of the brush, tip of the brush, belly of the brush, tip of the brush. Sometimes what you could do it, this is complicated more. You could start to build the greenery from this side, from, from the top tip of the brush, belly of the brush. Tip of the brush and connected to the stem. That's also fine. Let's make another one from top to or from psi to the central tip of the brush, belly of the brush tip of the brush. So I suggest you will try different things out. And the last thing we need to learn today with painting greenery is some strokes, some loans strokes. When we emulate grass and the bouquet. You sometimes just need to paint strokes. E.g. when you paint a tree, just with your brush and it requires a bit of a practice. But that's how you create these nice volume and emulate that a lot, a lot of greenery is here is presented. Very sharp, very sharp brush, very quick, very quick moves around. Just try it out. E.g. try to bring all of these brush strokes to one point or put them onto one stamp. Try this out. Practice and it will be great at the end. 8. Working on Composition: I usually get a lot of inspiration and references from the floor of books like this. And this composition really catches my eye with this conquest and red roses. And we are going to paint a part of it. We are going to paint just this part with red roses, some greenery around red berries. I think it will look very wintery Christmas scene. As it looks a little bit more complex here on the picture. It would be nice if we think a little bit on the composition before. There are various, the rule of three which says there should be uneven amount of big elements on the picture. E.g. free. With five, it's more complicated to count. For us. It would be very easy to remember the rule of three. This will be our roses. What's important? We're thinking in curves. So we imagine the curve goes like this. This means on this area. We could add, we could add different greenery, some more leaves, some grass. Sum, sum this special leukemia feelings. To create this curve. On the paper, I see that it is a little bit too much space here. So when I start to paint, I will shift it a little bit to the right. I add some berries. I imagined that the various area will be round here and some grass and leaves around. We could add a lot of greenery around, but it should not be too big in comparison with our main curve, it should look more like extra, which creates some volume and do not take too much attention from our central, central main heroes. No need to paint all the details and no need to think too much fruit. The main thing that we subtract from this picture, from this complex picture, the main heroes. We found for them a nice place and the tone, everything into nice curve. So let's go to the next stage. 9. Colour Mixing: We already prepared a composition, and now let's find best colors for our painting. I would like our roses be very bold red. And as a basic color, I'm taking Alizarin crimson. This how it looks bold. And if we add more water, it turns into very elegant, pale, pink. But these open color, maybe a little bit too bright. As a green opposite color. I'm taking phthalo green. Look how bright and a little bit unnatural it is when it is just from the pen. Let's have a look how it will be more diluted, very pale. What's happening when we mix these two colors? Alizarin, crimson, just with a hint of green. We get very beautiful. Violet, red, which will be great for some shades in our rows. Let's paint right over our sketch so we could find right places for our colors. Let's say this will be our main roles. And the main color will be Alizarin crimson. And for the shades and contrast, I'm mixing Alizarin crimson with duller green. And look how beautiful, bold texture I get. So that's our main roles. To other roles. This will be in principle in the same style. Maybe with some adjustments of colors around. For yes, maybe this one will be on the top. It will get more light. So I will use just the more diluted version of alizarin crimson. For greenery. I do not like this bright green color. What I'm doing, I'm adding a hint of Alizarin crimson to our green mixture. And I get these very, very beautiful, very stylish, bluish green. I will use this green form, rose petals for Peyton or a colleague to sleeves. Right now, I'm just trying out how all these colors will look. And I would recommend you to do the same before we start painting. A big picture. Just to practice with mixing colors. And it's very handy if you try it just on a piece of paper or on a white plate, like here. But if we use just two colors, It's a little bit boring. And it's a little bit too cold because both two colors, they are from the cold part of the color wheel. That's why as a third color, I will take burnt sienna. And you think, where should I put this burnt sienna, this brown color? I do not see Turn the references. But what happens when we mix yellow green with burnt sienna? We get this beautiful olive green. This beautiful olive green. Great. Nice extra greenery for us. And that's how we will get the contrast of cold and warm colors. I'm, right now, I'm not painting. I'm just trying to find a nice place for all the colors. If I add more or form burnt sienna. My green became more and more yellowish. That's how I get variety of different shades of green in my composition. Another thing to try out is to mix alizarin crimson with burnt sienna. And now we get these rusty, rusty red, very chilly. It's so beautiful. Now I'm thinking I would really like to paint something with scholar. Maybe I will paint one of the Roses using mainly this shades. That's why it's very handy to practice on a small piece of paper right on your sketch. But in principle, I was creating these rusty red color for berries. Right here. I would like to have a small bunch of berries. And I think this will be very organic, very appropriate touch of Rome. Colors, e.g. right here you see it looks a bit, a little bit weird. So I know that I would not use this rusty here, but for berries, I think that's really create. The trick is that here we have warm red. This means that form green parts around. It would be very handy to combine it with something called with some cold green, which is our mix of Alizarin crimson and phthalo green. And you see how it already plays nicely with each other. Same here, this part of the rows is warm. So it would be really nice to add some contrast of gold leaf right here. This part of rows is cold. We use basically open our Alizarin crimson here. This means let's take our olive green, which we got by mixing phthalo green and burnt sienna and add some warm greenery right here. And in-between all these called elements. That's how we set up our colors in our, in our composition. And you see, I used only three colors. Once again, Alizarin, crimson, fallow green, and burnt sienna. And just by combining these three colors, we get really nice, consistent color palette. We could mix them as much as they like. We use just three colors, which means there will be no contradiction in our painting later on. So try this out and see you on the next lesson. 10. Painting Bouquet Part 1. Roses.: Finally, we are starting our picture. Finally, we tried a lot with practice, different things. And now it's time to apply all our knowledge of our practice to the paper. I'm preparing mix of Alizarin crimson. One will be bold, one will be more diluted. And as we tried before, I mix it with a hint of green to get more bold, more bold consistence. And I would like to work with both more purple color and the open Alizarin crimson. I prepared two brushes. One will be with color, one will be for water. As with also practice. Gravely start just with the central, with a central roles. With C strokes. I'm painting the middle part. I start with really small c strokes. I soften the edges with the brush, with a clean brush, just with photon. I use tip of the brush and belly of the brush. I try to add different shades. I started painting with more purple color and now I'm switching to Alizarin crimson to open one tool, the bright far. And I soften the edges. I want our roles be soft. Very feminine, very, very tender. Although it's a red roles where painting, bouquet, which is more appropriate for winter. I'm shaping from the middle to the edges. I'm shaping the central roles. It has a lot of petals. And I try to make them different. And sometimes painting Chesley, the tip of the brush and some terms with the belly of the brush. And after painting, let's say free strokes about free strokes, prefer strokes. I switch to my watery brush and soften the edges. Soften the edges all around. As my watery brush already has some product on the cheap, you could easily check it. It's nice to add some details just with the tip of this brush. Some details inside of the rose, some small lovely parts. The more our rose gets all been, the bigger the petals are, the more open they are. To not forget to add some nice curves around and some shades. I'm switching between this dark purple, open Alizarin crimson, clean alizarin crimson, you could also say. And with darker color, I add more and more details. This Rolls has a lot of battles. They are, they have very big density. And to show that, I add more and more of dark strokes. While my paper is still wet here, I could really apply a little bit more of a dark color. This contrasts around that's how we are creating our first roles. I would recommend you to soften the edges before we switch to another one. I paint with different brush strokes, sometimes just with the tip of the brush, sometimes with the belly of the brush. I like these loose effect which is created very soft one. Like this. I'm pretty happy with this roles. Let's paint the upper one. The upper rows will look a little bit aside on RR from us. So we see, we see its backside. So let's remember how we try that. Let's start with the middle of the rows. Few brush strokes. We bring see brushstrokes tool. To this point, to the point where rows board meets its term. In our case, it will be around this area. Again, I'm switching the brushes. That's very handy to have two brushes, either of different colors or different thickness. So you would note mix them would not apply. Different one. I would like to create some contrast in here. This part of the rows is pale. This means that the operon could be really dark and shady in this part, in this area. And that's also how we get the feeling that these roles is behind the front one. Just by making it a little bit darker. And for the dark color, I used the mixture of alizarin crimson and phthalo green as we tried that before. I'm soften the edges carefully and partly. I do not want to turn our roles in tow just blocked. So I'm soften the edges. In some areas. With clean and dry brush. I bought out few few strokes. But even when bloating out, when removing some product, some watercolor from the paper. I do it in C strokes, and I want to keep this area just white for the contrast. So now we set up two roses. And let's paint the Third World. Let's check out with our sketch. And I remember that I wanted to try to add some warm tones to this rolls. And for warm tones, I add burnt sienna to my Alizarin crimson mix and get these rusty red color. Same principle. Same principle. Just keep in mind that the third roles, it's not the focal point. It should be slightly smaller, slightly tinier. Just mark this area. Start to paint strokes in the beginning as usual. But we are adding a little bit of warm, rusty red for these roles. Switching brushes. If it might feel a bit too confusing or complex for you to paint with two brushes. I still would recommend you to try. You will very quickly get hang of it. And you will love it. Because no need to wash out my brush every time you need to get some product on it, or change the color or soften the edges. So just too many things. What you could do with two brushes instead of one, and it saves you time. It says the product because you do not wash out too much. You see, I'm very rare. Wash this brush out. The bigger brush, almost, almost don't. I wash only my watery brush. While I was talking. I created petals for these for the third row. And I really try to add more and more of these warm, nice color to the petals. Rusty red. And if you can't remember why we use that colors, you could just check out the previous video when we wore mixing all the calls. And for those who did not watch it, who skipped that video? Small spoiler. We are using just three colors for the whole picture. Isn't that amazing? Congratulations, we are done with the roses. 11. Paitning Bouquet. Part 2. Greenery: Now, let's decorate our bouquet with greenery. We spent quite a lot of time on painting roses. Now, let's really make a bouquet out of this by adding a nice green colors. This is fallow green, and I mix it with Alizarin crimson to get these dusty space, emerald green, which is great for my colleague to sleeves. Let's check our map. Calypso sleeves, some rose leaves around some random winter greenery. And we're thinking in curves. I would like to start here because the paper is a little bit wet here and I think it could create a nice mixture. I paint my colleague to slaves, tip of the brush, belly of the brush, tip of the brush. And I leave small area, white area in-between to show the middle of wine. Keep up the brush, belly of the brush. And the second part, tip of the brush. I'm switching to my watery brush. Bloat out few errors, just few errors more for contrast. A little bit more. I want to paint these nice branch of my colleague, two sleeves right here. Tip of the brush, belly of the brush. We leave these nice very special eucalyptus middle wine in the middle of the leaves. And with the help of watery brush, blot out here on there some colors and create some some curves, shapes. For now, I will leave it like this. Maybe I will adjust, I will add something more. Let's paint a rose petals. And rose petals. I will paint in mix of blue, fallow, green, and burnt sienna. It will give me more room. Tone for greenery. I'm painting rose petals, tip of the brush, belly of the brush, tip of the brush, tip of the brush belly of the brush tip of the brush. Roses leaves. They have these sharp edges paid them rather vertically with the tip of the brush, we could create these nice sharp edges. Tip of the brush, belly of the brush, tip of the brush come to the starting point tip of the brush, belly of the brush, tip of the brush. Some, some texture around some texture or some, some variety for the leaves. Try always thinking curves don't set. Leaves like this round. You could override your greenery. Tip of the brush, belly of the brush, tip of the brush. Again, tip of the brush, belly of the brush, tip of the brush. The more our leaf is in the shade, right now, it's in the shade of the roles, the more darker it should be. So I add an extra color and I add some edges with my brush. Just with some random moves. I wash my second brush, dry it a little bit. And I would like to solve slightly this area. Same here. It feels it's a little bit to textually, I want to soften this just like this. Let's have a look here. This part is more volume. We use warm red here. This means it's nice to add some code hint of a cold color here. But same principle, tip of the brush, belly of the brush tip of the brush, tip of the brush, belly of the brush, tip of the brush. And a little bit more dark in the border between flowers and greenery. Tip of the brush. Tip of the brush. Just in one stroke. One leaf right here. In principle, I'm painting just brush strokes. You see that I'm not really painting too much or for really leaves, outlines. It's small like brushstrokes, just in different direction. And with the help of my brush and my watery brush could also helped me to create this structure. Let's come back to the top. It's very cold, very cold, tall, dark tone. And for the contrast, I would like to use, Let's guess, warm and light colors. And I would like to add some centers. The greenery here, maybe more like a third tree, greenery. In very light strokes. I add some nice variety for our greenery in the bouquet. As it always a nice bouquet. There's one more light and warm green. You could improvise with your greenery. You could have a look on the reference. You could have a look on your bouquet on your table if you like it to have one. But it's nice to improvise. And while this part is still wet, I add a little bit of dark dots and sports and let it just flows that creates the volume. Let's have a look and think. What else we could add. We could add e.g. these doted amaranth was, I think it calls a moron force. These flowers, which looks like branches with very, very tiny small flowers on it. And we emulate these just with TPN Moves of our of our brush, just a tip, it moves around. And that's the painted surface. It's always nice when some part has like a twin somewhere around. And let's paint these twin a moron for spot. Right here. It's very fun. Trust me. You might think or know how I would paint these without outlines, without pencil sketch. The thing is we we tried it out here and we could improvise here. I'll focal points are roses and the practice them a lot. And the, there is a good chance that we manage to paint them nicely. And with greener you re, really, it could be very, very relaxing. It could be very pleasant to paint once you leave your control a little bit. What I'm doing now, I use both of migraine mixtures, cold and warm. And I add some strokes to my warm parts, warm, warm strokes to the coal pots, etc. Let's have a look where yes, these two branches, they could have a twin. And this twin will be right here. Try not to be too symmetrical with this. But it's nice to have twin brothers and sisters in the bouquet. It show that we have consistent composition, consistent drawing. I just paint this with sharp brush strokes. And I really would like this is variable and this is very warm. And you see will lose some hole contrast here. And to fix it, I take my cold green and added in this area where green connects with, with the flower. But not to the whole, not to the whole branch. Just to these areas and maybe to some edges just to, just for the variety, just to create this variety. I'm pretty happy with the greenery we created. I want to add just a few of all colleague to sleeves. With small c strokes. It would be nice to set them on a branch. And for the branch collar, I just take these burnt sienna maybe with a hint of green color to make it a little bit darker. And while it is still wet, I add some branch here for oil clip to sleep. I could see where I could add some brown color. This, this plot, e.g. in the third tree, in these areas, just small, tiny strokes. And that's how we painted our greenery. Maybe one more detail. It is very cold here. And it feels like some warm, green. Cool. Have a nice statement. Just here. We are done with the greenery. And let's switch to the final part. 12. Painting Bouquet Part 3. Details : Now let's paint the final decorative elements as berries, as small leaves. Maybe some bots to make our composition even nicer. For berries, I'm, I use mix of burnt sienna and alizarin crimson. I get this rusty red and I set up my berries. Berries cluster. In this area. I do not want to paint berries red. And this is the reason because if we paid everything in the same color, it will be just boring. I will I will I will see just something red. And it's a little bit boring hour. I need to have a travel at your knee on our picture. So that's why I try to create as many shades as possible. So this is our berries. You could see I painted them in different tones. And different. Some are mobile, some are lighter. And they are variable, which means form. For the branch, I'm taking. Cold green and I connect them. No, no need to connect them all. You just map out how the green part could, could grow here. Always nice to add some small elements. Extra leaves. Let, let your colors mix. Here. It creates these watercolor feeling. It feels a little bit too dark. So I've washed my brush and I blot out unnecessary water color, boldness and same here. This one I would like to keep. I would like to add more berries right here. And I think few of berries would be very nice in this area. And I want to paint them a little bit lighter, so I dilute it, my mixture. When you paint berries, try to leave a small little tiny area, white. It's it's a spotlight. And if you have a look in almost wrong, almost all round things, they have the spotlight because it's the place where sunshine reflects or chest. Just light reflects. Some some greenery around, some leaves around. Let's have a look on our book care. What's missing, what could be added? I like this crispiness, which we have on this on the left side. And I think it might be nice to add few berries on the right side. Sorry, left, right. Even when I'm just painting, let alone benign, walking in the street. So few berries. Just with the tip of the brush, you create very random variable, random clusters of Burmese. And you set them on, on branches and mix warm tones, cold tones. Random greenery just with the tip of the brush. Now we creating more artistic, artistic feeling in individual feeling for our, for our composition. E.g. some warm detail. Small, small branch would be nice here. Let's have a look. Sometimes it really helps to look through the camera. So I got up, I have a look through the camera and it feels like these, this is a bit too heavy. This means that I could add some. Amaranth knows, I might be wrong with naming. But you got the point. These nice lace looking very a URI flower. And I paint it just with the tip of the brush. Very vividly. I remember about the composition. So I, I keep everything in shape in a curve. To make it more interesting. I make this a moron to split a little bit of brownish towards burnt sienna. Like this. Some dots would be nice. Just hear some final touches, some contrasts. You could go over your painting because it's dry now. And you could add a second layer when it's necessary. And you see how crispy it gets. Same here. Some green tones, not on each and every part. Just in a few parts. That's how we created volume. And these nice contrast. Let's have a look. This part is empty. So, and it's cold. So I would like to add something very warm and very delicate. So some some some branch with no name, no name greenery on it. But you see it feels like it's just right here. Let's have a look. Maybe one curvy little detail around this area. And it really feels that fund more or two more, or Calypso slaves will be nice. You see that's the beauty of painting, loose painting into it. Intuitive. That you could always make changes during your journey, during your painting and you paint how you feel. Feel that it's better to stop at that point. That's absolutely all right. But if you feel that something is missing, e.g. some contrast in these roles, just in this one. You could come back and add contrast. And now we're really done with our beautiful bouquet. 13. What's Next?: Thank you so much for joining this class. I hope you really enjoy the process. I encourage you to share your projects with the others, to support each other. Be more and more confident with bringing your artwork to public. I can't wait to see what we achieved together. What creativity you could release, what magic you are able to create with these tutorials. And what you learned from me. I think this is it. Thank you. And see you on my next classes. Bye-bye. 14. Join my Membership!: Hi friends, I'm going to be killed. And I welcome you to joy, to my membership. I know that we all somehow at different stages of our painting skills and that's fine because I split my membership classes, my membership offers into sudden bundles. And you could start either from the very, very basic steps and then short-time get to another step and then to another step. And as my favorite thing, we could paint together complex botanical illustrations or loose floral compositions. It, somehow, it takes time to realize what you're more into, either into loose painting or some more precise painting, it's okay to give yourself a try. And another thing I would like to stress out that most of my classes, you could stop at any moment, e.g. when a baby cries or dog needs to go out. So really at any moment and heavy, just 15 min daily practice. Good. Bring you into really nice progress with watercolor painting, withdrawal away, anything basically. So I invite you to try out free classes, to try out churn membership, e.g. for a month and feel how how does it feel here. So I hope you will like it and we could make, we could create a really nice together. I hope I see you there. Bye bye.