Transcripts
1. Welcome!: Hi, I'm a mere apartment artist, illustrator and the owner of the parting collection. Welcome to my class on illustrating with water colors, Siri's one florals. In this class, I will be teaching a few basic watercolor techniques how to illustrate florals in a simple way by breaking them down into shape and adding an illustrated flair. And we will then finish off our florals and a beautiful bouquet with water colors. By the end of this class, you will know how to simplify two different types of florals and create beautiful illustrations that you can be proud of. This class is for beginner watercolors and illustrators, so you don't need any prior knowledge or experience to learn from this fun class. Next, we will go over the materials that you will need. Let's get started.
2. Materials : Now let's go over the materials that you need for this class up pencils, A waterproof minor. I would recommend the size 0.2 or zero point during a container for water, round paintbrushes or water, birth, watercolor paint, paper towels, a power for mixing your paints and, of course, watercolor paper.
3. Let's chat about watercolor basics: So let's chat about watercolor basics. What is water color? Watercolor is pigments made with a water soluble binder like gum, Arabic and then with water, giving you a transparent or opaque color. You would typically use watercolor paper when painting with water color, but there are now water canvases on the market just for water color. Now that we know what watercolor is, let's go over a couple of the techniques that we can use with watercolor. Ah, flat wash is when you end up with an even wash of color for your entire painting. When it is done correctly, you will end up without any breaks or lines in your wash. Gravity really helps so till your paper. When painting a flat wash and make sure you makes enough paint before you start, use the largest flat brush that you have to cover a larger area and vice versa. So in this administration, I'm using a smaller flat brush because I'm covering a smaller area. Next we will go over the wet on wet technique went on what is literally using wet paint on what watercolor paper. When you use the wet on wet technique, the colors will spread into each other and produce not only stop edges but are a great way to blend together two colors. With this method, you have less control as the paint will flow whatever the water is, and if there is already pigment down on the paper, it will flow into that as well. So for this technique, we will paint on our paper with water. You must make sure that it is really wet. Then we will just drop pigment or are watercolor onto the paper. Like so, for this demonstration, I chose crimson red and violated so that you can see how they react by blending together once they air dropped onto the wet watercolor paper. These two colors will blend while the paper is wet and will continue to blend as the paper dries. The last technique that we will go over is the wet on dry technique wet on dry me that you are painting with wet pigment on a dry surface. The wet on dry technique will give you more control over where you want the paints ago. We're using this technique. You will have sharp edges rather than the blended edges, like you would get If you use the wet on wet technique, I feel that the wet on dry technique is very useful. Well, you want to add detail to your artwork, of course, after your previous layer has dried for this technique, you will take some water and water color paint and begin painting directly on the dry watercolor paper. Here is a picture of the watercolor techniques. After they have dried, you can see where I had to try the flight wife several times to get in. Even wash. The wet on wet technique created two different colors after they dried, and I decided to add some random shapes to the wet on dry example. To show how the water color won't blend a and give you detail in sharper edges. There are many watercolor techniques, but for the purpose of this series, I'm on Lee going over these techniques because thes will be the ones that we will focus on the most. Remember to be patient with his medium and keep practicing. You will soon master them and create beautiful works of art. Next, we will go over tips for illustrating floral
4. Tips for illustrating florals: here are just a few tips to help you get started on your floor or illustration. First, pick a flower to sketch. In this class, we will be illustrating a tour and a Persian buttercup. You may use a reference to illustrate your floral. This will help to accurately capture its shape. Your reference, maybe a photo or an actual flower. In this class, I used unflashy dot com and my own photos. Choose your color palette. It's important to note that your cover's don't have to always match the colors from your reference. You just want to make sure that they complement each other. Break up the flour into simple shapes. This is such a helpful and important is because by doing this, you will simplify your illustrations and make it easier to illustrate certain parts of the floor. Oh, that may seem difficult. Efforts gland sketch in pencil, then pan in at more detail. This is a preference for me, and it's a great tip for any beginner. The more comfortable you become with your illustration south, the more you will trust your profits and can easily start your illustration with pain. Okay, let's get illustrated
5. Tulip illustration : Okay, So maybe you're like me. A see a lot of step by step illustrations of tulips starting off with an oval shape and then a semi oval for the sides. This is a great way to illustrate the tulip, but I personally prefer to do mine by roughly sketching a rectangle. And then from that rectangle, I added my sides like so Okay, so let's pause for a moment for this demonstration. I am rejoining every step to show the different steps that I take. Whenever I illustrate my tulips, I typically just start with the rectangle and sketching the rest of the tulip from the same rectangle. Okay, let's get back to illustrating for the next step, you are going to start by adding your detail. You do this by rounding off your rectangle and also rounding off the sides of the tulips. So if you look at a tulip leaf, it really isn't straight down. Belief actually has plenty of curves, even for the sides, and there is a leaf in the back, so don't forget about that. Next, you want to give you a tool. It more character by adding in some lines, these lines usually just go with the flow of the original curves. It's at more detail. Let's just added even smaller lines to give it more depth. I'm going to switch over to my waterproof minor. This is the size. Is there a 0.3 so that you can see what I'm doing a little bit better, So I will speed this up as I traced over the lines that I just drew. When you add the smaller lines, it gives the tulip so much character in death so far the edges. You know that you will have a shadow here so you would add smaller lines but by cross hatching and we'll go over a cross hatching in just a moment. But I also added in the vein and the stem, let's move on to illustrating the tool of leaves. Tulips have big, beautiful leaves, and their stints are also really big. For this demonstration. I ended up illustrating a leave behind the second leaf of the tulip, and you can do this if you want the to look, to stand alone. Also for the second leave, Um, I believe, behind the second leaf, I ended up adding an extra line and what this line. It's giving the illusion that the actual tulip leave is flipped up or turning upward. Another way to illustrated to live is to start off almost in the shape of an oval or, in this case, an oval that is at an angle or slanted. You do this for both sides. Then you would draw another oval without the bottom to represent the pedal in the front toe at more pedals. You would then repeat the same shape, but stopping with top of the first tulip petal begins. This gives the illusion that these pedals are behind the first pedal. If you look at the pretty pink tulip in the top left hand corner of this picture, you could barely see the pedal in the back. You could choose to leave the pedal as you see it, or you could add a pedal in the back. Remember, it's your illustration, and you're not trying to copy the you just want to refer to it to get the shape of to. I ended up adding a little in the back. Next, you just heard the lines the same way that you did for the 1st 2 again to go around the curves and at the line. You can also crosshatch the shadow for the stem. Cross hatching is where you draw lines in one direction and then cross over the first set of lines in another direction. You will continue to do the crossing method until you get the shadow that you desire. This is another example of a tube. I decided to illustrate the dark purple tulips of the left. These pedals are closer together. The two front pedals start off more rounded but have a blood line that comes straight down to show separation. The front pedal and the backpedal are in the inside of the pedals on the side. You would just draw small lines that would connect to the back pedal to give the illusion of the outside pedals covering the front and the back pedal. So, at the illustrative look and feel, just go around the piddle, doing the same thing. Curves and smaller lines. The last to lift that I would like to illustrate is the close to it. It looks more like an outside downs here, drop and besides, air very close to the pedal in the middle. And that's pretty much how I illustrate my tulips to give them more of an illustrative look and feel. Next, we will go over illustrating a Persian buttercup.
6. Persian buttercup illustration : Now let's break down a Persian buttercup. They are so beautiful. I went ahead and started to illustrate the Persian buttercup by breaking it down into the shape of an oval. I am using the buttercup that is facing that's hot right hand corner of the photo. So break it down even further. I will illustrate something almost like disc. Within this shape, As I am illustrating, I am making sure to connect my lines in the back to the previous circle so that it gives the illusion of the buttercup leaning toward the right and also the illusion of not being able to actually see those pedals in the back. Once I get closer to the bottom of the buttercup, I want the pedals to be bigger and wider, so I'm going to make this disc bigger. The pedals closest to the top will be smaller. The pedals also have more of a wavy line, and I am using the disc that I just drew as a guy to help me with the placement of my pedals that will go in a circular motion. If you look at the Persian buttercup, the pedals are in layers, since you are illustrating them. You can make them wider. I actually like mine to be wider than the picture. - If you want to make a pedal that isn't facing upward like maybe it's a little more open or just slanting slightly from the other pedals that you want to just draw a slanted oval without the bottom. As you get further down, they kind of open up a little bit so you would make them kind of close, but definitely wider. Okay, so for this pedal, I wanted to sing like it's facing outward and slightly away from the other pedals. So I'm going to drive at an angle where it's still an oval, but without the bottom. I'm going to make the pedals at the bottom larger. And with this next pedal, I wanted to have it where it's flipped away from the other pedals and the top of the pedal is turned up. To do this, you would just curve your line outward and again draw another line on top to give the illusion of the pedal being flipped up the next pedal. Let's have it facing inward, but showing the sides of the pedal make the shape of a novel, standing straight up and then draw another oval connecting to our 1st 1 The next two pedals will be in the same shape. Slanted Carvey and oval. I did at a couple lines toe at more detail, but they're still in the same shape, and one of the pedals is in front of the of it. When drying the stand, go with the flow of the flora. So because it's slanting, my stint is going to slant off. Now, to add more shadow to the individual petals, you can go in and dark in the lines that would have more of a shadow. To help illustrate that, this pedal is flipped away from the other ones at in short lines that curved with the shape of the pedal, concedes at mine that follow your shape of your pedal, - Theo . Let's look at the shape of a lean. If I was to illustrate this individually, I would draw three ovals that are semi connected because I see that in my mind, I just separated the circles and ended up with this shape that kind of reminds me of a cactus. So from here, adding these ridges or spike lines that are sometimes short and long. I just want to head and redrew the actual shape of the leaf with the lines, the short and the long ridges or spikes just to demonstrate how it would look alone, because I felt like it was a little too distracting before I drew it. So after you do that, then you just want to kind of draw in the extra lines in the details for your actual leaf. This is another example of a Persian buttercup, but it's a close one. I want to do a variation of it and not that particular one. So the shape is like an oval, but with the point at the top for the leaves you can at one in front and then two on the side. For the middle of the buttercup, just draw a curved line that comes up the middle. If you want another pedal on the side, then carbon additional line that is off centered and connects to the top. I will just go over this with my liner. Here are a couple of different angles with this one. I want to have the sensor showing to do this. Draw short, curvy lines with the straight bottom and then for the rest of the Floro is pretty much the same as the 1st 1 Adding layers upon layers and using my base as a guy, - thieves get closer to the edge. I want to open up the pedals a little more, make a short line and Carvey pedal. Then let's also add another pedal in front of this one. When I finished this pedal, I'm going to carve it down to connect to the rest of the pedals. You can also draw pedals that have maybe a small tearing them are drawing a straight line and then a V shaped administrate line fantasy to go around the buttercup and add in more detail by adding the lines like we did in the first Buttercup do here. I'm showing two different variations of how to draw the stem. I also go ahead and do some cross hatching for a shadow. I kind of like the second away that I drew this them now for this demonstration. I also wanted to show another way that you could actually draw the the Buttercup, and it kind of resembles the the one that's on the left side toward the bottom of the photo . I'm not gonna completely go through the whole buttercup and illustrated, but I did want to just go ahead and show how you can also illustrate different pedals on the buttercup and the flipped up pedal. Now we will illustrate our floral bouquet and add some fun watercolors to finish it off.
7. Bouquet of florals & watercolor: Okay. So I took it upon myself to go ahead and illustrate the two loops and the Persian buttercups. And I also added some extra elements within this bouquet. Um, so let's go ahead and go over the different colors that were used. So I have a radiant in lemon yellow burnt amber, lemon yellow, um, crimson red Viridian, violet, violet and cobalt blue coop blue in Meridian for a 1,000,000. And crimson red and burnt number my two jars of water. One for cleaning for dirty. I'm also have towels through any excess water from my brush. Um, for brushes, you could use the smaller water brush for detail or, um, a size two. I think that's a size too. Yeah, that's a size two. Um, this brush is a size four, and this special here doesn't have a number. Um, I just like it. And I went over my illustration with the same waterproof liner a size 0.3. Now, let's get to painting. So I already mapped out the different colors that I want everything to be. So I'm gonna start Ah, with the number four brush. And with this leaf right here. Of course, When painting this, you know, we wouldn't Naturally pain are leaves green because that's what we see when we look at trees or bushes and leaves. But if you play closer attention to the actual leaf, you will start to pick up different colors that are in that actual leaf. So you may have yellow or brown and then a little bit of green, and then our eyes actually see it as green. But a leave has so many different beautiful colors that air mixed in together to, you know, show us the color that we see. And that's why I'm starting with yellow. I know you may have been like yellow. How would put Yeah, um, you'll see it's gonna actually be green. So I'm gonna add in a small amount of this burnt number with, um, my lemon yellow as it's still wet so that they can blend together, and then I'll add my meridian and lemon yellow mixture to give it kind of is, um, light green color on. I did switch over to my number two because it's smaller and I could get more detail on this small part of the leaf. Um, now is go ahead and paint the rest of the leaves with the same lemon yellow color. Um, and then we will dab in our burn number and then the meridian. And you know, when the paint is what you know, this is where that technique comes in because you're what and what is gonna help you believe those colors together. So if I were to go in and just add yellow and then let it dry and then that you know, the burnt number and they let it dry and then the meridian, it'll kind of like kind of crazy. So it's good to use this technique when you want to blend, and that's exactly what I'm doing. So I needed to mix a little bit more paint, um, on my palette so that I could get more of it. Um, well, I'm greenish color, so I'm working with a plastic pallet. Um, it's probably best to have a ceramic palette, but when you're starting out of the beginner, you want to get a feel for the medium and make sure you know one that you like working with it and to just getting something that's in your price range. I know for the longest time I had this thought that in order for me to be the best, you know have have the best. And slowly I realised that, yes, in order for me to grow with my watercolors or illustrations or even my acrylics, I have to eventually spend more money on the expensive products. But when you're learning and starting out, you know you're learning a new skill. You have to focus on improving on that new skill before you go out and splurge on the most expensive paper brushes or paint. So, um okay, I'm gonna I'm gonna make this part of belief a little darker because it's in shadow and I'll just paint the same for, um, this leads. I want to paint this branch with the burnt number. I'm going to leave some areas white to show the highlight. I'm going to paint the buds with the crimson red and burn number mix. I kind of used my imagination when it came to illustrate Lee's. I honestly don't even know what they are called, so forgive me for that. But I did feel that they fit. They fit well, but the rest of the bouquet, So I added them. I will speed this portion up as I paint the rest of these with the burnt number and add the crimson, red and burnt number mix to the book. Okay, Here I put a little too much paint down. So when this happens, just dry your brush on the paper towel and dab it in the area where there is excess paint and it will lift whatever you don't want on the paper. Now I'm going to go back in with the burnt number and finish painting some of these areas and trying to be careful not to touch my what buds. I am just adding more burnt number by using squiggly lines. This will give some added detail to this branch. I ended up with a hard edge here, so I want to blend it out a little. I'm doing this by taking some clean water. Not a lot. I'm going to go in and use like a scrubbing motion to blend the age
8. Bouquet of florals & watercolor: Now, listen to these leaves that I'm going to use Meridian because I also want to be Oh, - I will now just take a clean brush and soften up the edges just a little bit. So there's no paint on my brush. Okay, Now let's move on to the tulip stands down at the bottom. Um, I went ahead and did the exact same thing with the lemon yellow and the green or the for Midian to get my lime green color. And so I'm just gonna go ahead and paint, uh, the rest of the stems down at the bottom and also this leaf on the right hand side. - So I want this leave over here. I'm on the right hand side to be a little bit darker, so I'm just going to add in a little bit more of my meridian so that I can dark in that area up. Now, I'm going to work on this buttercup on this side. It is a smaller one. I'm gonna use the lemon yellow, and it's not like the big, beautiful Persian buttercups that I have. I'm not sure what species this is, but, um, what group it's in, but I thought I would just add it in the UK and I'm gonna do the lemon yellow, making sure that I leave the white of the paper for my highlights. The middle I'm going to add in a little bit of the burnt number. I'm just dabbing lightly in there. So next, let's move on to, um this kind of I guess it will be is not really a flower. It's more like, I guess, a branch with maybe pink flowers on it. My interpretation. So I'm gonna use the, um, the Crimson Red, and it's pretty much just a water down version of the Crimson, right, Because I really wanted something that was really pink, But I did not have, um, Pink. So I decided to switch over to my water brush, and it wasn't really working for me. It's up. I went back to my number two again, um, to get that detail, I'll go ahead and speak the video up as I paint these little pedals a light pink color. - Now let's work on this smaller to lip. I will be using the cobalt blue and meridian mix. I want color. That was a cool blue. Remember in the tips where said that your colors don't have to match the colors from the photo. All of the photos that we looked at there was not one cold blue to look and have never seen a cool blue too little before. Maybe there are some out there, but I haven't seen them up for myself. So, um, I just use my imagination with this color, and I thought that it would pair well with the crimson red that I watered down to like a light pink color. So tulips are such a gorgeous floro. And there so many different types of tulips from the Darwin hybrid to love the triumph to look, which is what I have illustrated the double tool of the French tool of in various others that I won't even attempt to pronounce. And on top of everything, they're super finds. The paint's, um, now looking at my leaves For this to look, I felt like it was becoming a little more on the side of like a lime green color, so I decided to go over it again with just the same mix. But I just added a little bit more of the Meridian to, um, dark in the green up rather than have it like a lime green. So, um, I did this for both sides, and also I didn't want to forget my stem and the the shadow of the leaf that's being turned upward. Now, let's go back over to this leaf and darken it up a little bit more. The shadow actually under the leave with a little bit darker. Um, and they will go up here to our clothes, buttercup, and we'll work on that. So the color are used for this one was the vermillion. And I know that when I started off painting this, um, I wanted the center Teoh be darker because I feel like it was closed more so the middle is supposed to represent a pedal being in the inside, and so I wanted that to be a little bit darker. Now, of course, I can't truly dark in it until this layer dries. But I just wanted to lay down the foundation for it. So now go over here to the next to live. Um, and I'll go ahead and paint this one the violet color. And violet is such a beautiful color and the same will actually apply to this to live as well. I have some shadow in there, so I'm gonna have to let this later dry once I paint it and then come back in and repaint it again. The same violent color to give it that dark, um, shadow that I would like and maybe even soften up. Um, my edge. So now I'm just going back with a second layer for, um, this other to look at the top to darken it up, to put in more of my shadows for it. And then we'll move on to this big, beautiful Persian buttercup. The colors for this one or the violet and the cobalt blue felt pretty much, um, I'm just putting down just a first. You know, my first wash for this actual flower listenable to this beautiful Persian buttercup, that's kind of like the center of attention. So I decided to toe paint this one the crimson red, and I didn't water it down too much because I wanted to keep some of the color from crimson red. I'm just doing just, um, a small wash over and making sure that I don't actually touch my center. I'm going back in my center and adding some of the burnt number, Um, to that. And then for this buttercup, I just added in more of the burden number because I felt like I was losing a little bit of it. And now I'm going to go back in with this actual flower at the top, and I'm going to add a darker shade of crimson red, so I didn't water it down. I got it the first time because I wanted to have a little bit more character. So I'm just going around, just adding, like, small dots on the top with tips of these little small pedals. - Now , what I'm doing is I'm just going over this violates a loop with the same violet color. But I'm just doing that so I can get the shadow Well, the darker areas for this actual tulip. And I'm just gonna go back in and do the exact same thing again for to look on the top. And I know that this middle section is gonna be a little bit doctor because it's on the inside. And I switched my brush back to my detailed bush and here I am adding more of the ra 1,000,000 color to this buttercup so that I can darken it up and leaving small areas for my highlights. Now I'll go into this partisan buttercup and go around the areas where I know that I want the shadow to be, and I'll just go ahead and dark in those areas up. So on top of having my, um, my pin marks or my waterproof liner marks, I'm gonna also add that extra color that I have. - And I'm going to do the exact same thing with this Persian buttercup that's in the front. I'm just gonna go around and add the shadows labor on a little bit more of the crimson red where I feel like it should be a little bit darker around the buttercup. - So for some of my areas around this buttercup, I felt like I was getting some hard edges when I did the shadows. So I just went back around and used the clean water and dabbed the paintbrush onto the paper towel and cleaned up some of those areas, soften some of the hard edges and blended a little bit more. So again, I feel like this to this up, Buttercup, I'm sorry. Still wasn't ah dark enough for me, So I just went in again with another layer and darkened it up. And I think that I'm satisfied with that. I'm gonna do the same thing with this to look just darkening up that backpedal back there and the center where the pedals are voting over on that front pedal. Now, let's work work on this ribbon, and I'm just gonna do this a violet color. I didn't water it down too much. I still wanted to have that violet color there. And I'll just go around the whole, um, ribbon, and I'm gonna probably have to do another layer because it's a little too light for me. But I'm making sure that I'm leaving some area for my highlight where the light source is coming from. - Somebody's going ahead and adding in some extra shadow for this ribbon. And I know that I wanted to be shadow to beam or around the top of the ribbon. And so I will go back in is well for this buttercup. And now add in a little bit of the vermillion and the lemon yellow, so that it could kind of blend together and give the look that I want it rather than just the lemon yellow for that buttercup. And that is how you go straight.
9. Class project: for your class project. I would like for you to take what you have learned and choose to blow Rose to illustrate you are welcome to share your progress along the way. Upload your finished project with water colors.
10. Thank you: thank you so much for attending my class. I am so excited to see what illustration you create. I hope that you enjoy and learn from it class on illustrating with watercolor theories. One florals I look forward to seeing you in the next series, illustrating with watercolor theories to urban think until next class happy illustrating.
Omera Parveen, Artist, Illustrator
