Guía para principiantes sobre acuarela suelta: desafío de 7 días de corona floral

1. All About This Class: Watercolor is the perfect medium to begin with. Whether you're a seasoned artist or an ultimate beginner. Watercolor can transform your idea into a magical piece of art. If you let it. Hi everyone, My name is Jenny Flores. I'm an artist and a creative method from the Philippines. I teach watercolor, calligraphy and creative entrepreneurship in person and online. I'm a silver brush ambassador and my works have been featured in various medias and articles. I really love painting flowers. They're graceful stamps, soft petals and glowing colors are just perfect match to the translucent and soft characteristics of watercolor. In this class, I'm going to be introducing you to the wonderful world of watercolor. I'll share with you the right tools that you can use to start your journey from paper to brushes and of course, colors. Then I will walk you through the fundamental watercolor techniques, color values, brush markings, and apply those in painting loose and romantic floral elements. After you learn all those important lessons, we will then move on to learning how to combine all those techniques to create seven blooming and well-balanced watercolor floral. It doesn't matter if you never picked up a brush before, because in this course, we're going to start from scratch. I'm so honored that you're here and I hope you stick around till the end. Can't wait to see what you're going to keep. So pick up your brush and let's get started. 2. Class Overview: Hello students and welcome to our class. You probably can't wait to start painting. But before we begin, I would like to introduce you to watercolor and discuss with you the flow of our claspers. As a beginner, I'm sure you've heard a lot of misconceptions about watercolor. Some people say that it's the hardest meet you, or supplies are expensive, or you must learn how to draw first before jumping into it. The truth is, all of these are just myths with proper foundation and knowledge. You can master this medium in no time. And yes, they're learning how to draw can be advantageous but certainly not required. Let me introduce you to the beauty of loose watercolor painting in this style. Instead of coloring the sketch that we initially made, we focused on the strokes that are brushes can create with Ginny. I don't even know what brushes to get, how to use it, how to control water. Don't worry, because these are the things that I had in mind when I was planning this class. We begin our discussion about the supplies that you need to start your journey. I will share with you the specific materials that I will use, the brands decisis, all. Of course, I will also suggest some alternatives. If you find my suggestion a little beyond your budget. After that, we will dive into one of the most important lectures in watercolor, the watercolor techniques. I will explain the important techniques that you need to know. And I will also show you some examples on how I applied them into actual painting. Lesson three is all about color value scale, which is also a foundational topic that will help you identify the right shade of color and the right amount of water that you must load your brush. The last foundational lecture is the brush markings, where I will introduce you to the different brushes and the brush marks that they can create. I strongly believed that actual practice is essential for you to understand a certain topic. With that, I really suggest that you paint along with me and do exercises. So you can translate your learnings into muscle memory. After learning all these fundamentals, I will now start teaching you how to paint actual botanical elements. Bromine leaves, blue flowers. Of course, without practice and application, these lessons will just be forgotten. So I prepared a series of floral wreath projects that we can paint using the techniques that we have learned from the class. On day one, we will paint this peach roses surrounded by yellow and voltage filler is we will apply the wet on dry technique that we have studied on this project. On day two, we will paint this values and roses frame and focus on combining harmonious colors on a composition. They tree is for an MNEs and relentless on this class, we will apply a lot of brush marks from different brushes that we have discussed on the previous topics. They four is all about mastering thick and thin strokes. For this, we will paint a blooming cherry blossom wreath. On day five, we will focus on different color value scale and create vintage streets using minimal colors. They six is quite different as we will incorporate calligraphy on already. For the last project, we will paint this beautiful blue and white process sweet, and refresh ourselves with the different lessons that we have during the class. Make sure to upload your class project on the class project section so I can check it and give feedback. I'm sure you can do it to learn. So let's begin. 3. Supplies: Knowing the right tools for painting, it's like knowing your weapon for a battle. The right supplies. You can step up your game in watercolor and you can easily understand how to use the medium property. Today, I'll be sharing with you the essential materials for watercolor and the specific tools that I will use for the class. Let's begin with paper and watercolor, the most common types of paper, or hot pressed and cold pressed paper. The main difference between these two is derrick texture. Hot press paper is smooth and doesn't have any thoughts. That's why water flows freely on it. For the cold press paper, it has a bit of a texture that controls the flow of water, which makes it easier for beginner artists to use. Both papers have their own advantages and they are useful depending on the style of painting that you're trying to achieve. For loose floral painting style, it is best to use a cold press paper as it will make it easier for us to control water. For this class, I'll be using this tree watercolor papers. All of them are in 300 GSM thickness and cold press. So the first one is the Netscape electro watercolor paper, then the bow hunt Academy watercolor paper, and lastly, Fabriano artistic or watercolor paper. These brands are high-quality watercolor paper that I've been using for years already. If you're looking for an alternative, I can suggest the following brands. For 300 GSM, a 100% cotton. I can suggest the artists, which is in green cover, Saunders, Waterford, and Canson Heritage for lower GSM and not a 100% cotton. Here are the brands that I can recommend. You can use this while practicing and testing if you want to invest on this medium, that's it for paper. Now let's move over to brushes. There are tons of brushes available in the market. When I was a beginner, I really get confused. Which of these hairy toes should he get for watercolor? For today? I'll be sharing with you the essential brushes that you must check out if you're learning loose watercolor painting style. First is a round brush. This is the most common brush shape and it basically can paint anything. Round brush have pointed tips and big belly that can hold water. Another brush shape is a filbert brush or an oval brush. This one has a rounded shape that is very useful in painting petals. Lastly is a liner brush. This one has long hair stands that can create long straight lines. For our class, I'll specifically be using the following brushes. Silver black velvet, size eight, size six, and size to silver crystal oval wash brush, size three over four. Silver silk, eighth, eighth over crescent brush in size three over eight. Silver black velvet liner brush in size one. And so Brazil 88 mono line brush in size 20 over 0. Now those are the brushes that we'll be using for the class. Let's move on to our next tool, which is watercolor. Watercolor comes in either pans or tubes. Both of them serve the same purpose and the main difference is their case. What's actually more important is the ingredients. Not all watercolors are made the same. When you go to an art store, you will notice that they sell either professional grade or student grade watercolor. The main difference between the two is the amount of pigment that they contain. Student grade watercolor tends to have more binder or filler compared to their pigment. That's the reason why there are less expensive, while professional grade watercolor contains more pigment than binders. That is the reason why artworks made using professional grade paints don't fade easily overtime. For this class, I'll be using the following watercolor sheets. Green earth from Netscape, Elektra, undersea green by Daniel Smith. Olive green by Magellan. Raw, umber, yellow. Yellow ocher. Number two, by me, jello pearl gray from Netscape, polyhedra. Sophia from Winsor and Newton. Van **** brown from each yellow. Petersburg occur from NAB Skype palestra, mocha, from Netscape, Elektra. Martin from lab scale pilot. Quinacridone, permanent magenta from a jello. Potters, pink from Daniel Smith. Quinacridone, burnt orange from Daniel Smith. Maroon from Netscape, Elektra. Perylene maroon from mid yellow. Indigo from jello. Shadow violet from Daniel Smith, shadow violet from a jello, and lavender from a jello. Note that you can also use other shade close to these colors if you don't have them on your palate. The other supplies that we will be needing, our pencil, eraser, circle guide, water and cough, tissue and mixing palette. 4. Loose Watercolor Techniques: If you're new to watercolor, it is very important to understand how water behaves on your paper. In this lesson, I will walk you through each watercolor techniques and explain to you how you can apply these techniques in painting. As I have mentioned earlier, the lessons that you gain from watching the videos will not translate into muscle memory of your hand. If you don't join me on keeping the exercises, I encourage you to pick up your brush and paper and join me as we discussed, important watercolor techniques. The first and the most common technique is the wet on wet technique. When we say wet-on-wet technique, it means that we are going to apply a new layer without waiting for the first layer to dry. Let's say this is our first layer. While this layer is still wet, we're going to add another layer on top of it. I'm going to use a shade of blue, so it will be very visible. You will easily notice that the second layer just mixed on the first layer and that is how the wet on wet technique behaves. Let's make another wet on wet technique example. And this time I am going to use dots instead of lines. This is our first layer. As you can see, it's very watery and very wet. While this layer is still wet, I am going to add another shade of blue and put it on top of our first layer. You will notice here that same thing happens. The dots are just mixed on the pink base layer. Here's how we can apply the wet-on-wet technique on actual painting. Here on this day series, you will notice that on the core of our day sees I used two shades of raw amber. So I applied the wet on wet technique here by creating the base layer first, which is a light mixture of raw umber. And then while it's still wet, I applied the more concentrated mixture of raw umber. So as you can see, they mix beautifully and there was a nice transition between the two shades. The second watercolor technique that we have is called wet on dry technique. When doing the wet on dry technique, we apply a layer of paint when the base layer is already dry. Let's say this is a base layer. Let's create another one so we can have two examples later on. We will let this layer dry first. And then once they're dry, we're going to add another layer on top of them. After a minute of waiting, my base layers are completely dry. I'm now going to add another layer on top of these and you will see how the wet on dry technique works. I got here a very concentrated mixture of indigo and I'm creating lines on top of my base. So as you can see here, the second layer that I made did not mix, and that is how the wet on dry technique behaves. So let's try it again. On this layer. I'll create dots and lines and all the strokes. And you will notice that none of them mix. Unlike the wet and dry technique, the color faded. So for the wet on wet technique, you can create strong and crisp lines without letting it mix on the base layer. Here's what it looks like when we apply the wet-on-dry technique on actual painting, I have here my cherry blossom wreath. And you will notice here that I created some dots and lines on the core of my cherry blossoms. You will notice that the petals and the court did not mix. And I was able to create crisp lines and dots by applying the wet on dry technique. Familiarizing yourself with these watercolor techniques will help you understand how water works on your paper. And it will help you know when and where to create your neck strokes. 5. Color Value Scale: Alright, now that you know the important watercolor techniques, I want to introduce you to another foundational elements in watercolor. Color value. As we all know, water is so important in watercolor painting. It is the one that adjust the intensity of color, making it dark or light, depending on the amount of water that the load on your brush. It is very important to know how much water you need to achieve a certain color value, as well as knowing when you need to use intense or light colors. On this topic, I will share with you the concept of color value scale, and some tips to easily remember the intensity of color that you need for a certain stroke. In studying color value scale, we need clean water. So load your brush with water and remove excess water from your brush. By doing this, make sure to not load your brush with too much water. We only want it to be wet. Alright, So after that we're gonna get a colors. I'll be using perylene maroon, but you can use any color that he liked. What we need to do next is load our brush with our color. Since our brush is wet, we will be able to get an intense color like this. As you can see, it's very concentrated. And that is because we only have a little amount of water on your brush. So what I want you to do next is soak your brush with water and load it with a little more water again and then get the same color. Now, when you do that, you will arrive in this shade of color. As you can see, it's still pigment it with a little bit lighter. And then I want you to load it a little bit more water and add more and more water until you arrive in a very light mixture of color. As you can see, we were able to arrive and different shades of color just by adding water on our brush. And that shows that water is really important and plays a big role on watercolor. Now we will be using these shades on our patients later on and to help us remember what shade of color should we use on a certain stroke, we will be labeling these and naming them with something that's easier to remember for the darkest shade or the most concentrated and shade of our color, we will be calling it watery mixture. And then for those colors which are pigment that but a little bit lighter compared to the water mixture, we will call it milk mixture. So those are the blue shades after the watery mixture. And then those lighter ones, we will call it team mixture. I want you to familiarize ourselves with these shades and these shades names. So that when later on when we create our paintings already, when I mentioned the mixture, I actually meant this shades. And when I say milk mixture, these are the sheets that I meant. When I say butter mixture, I meant concentrated, most concentrated mixture. To give you some idea and how we will use the different color ratio for paintings. Here are some examples on how I applied them on our actual rate. For this wreath, I use different water and color ratio for the lease to represent some leaves on the back. I use the mixture for those that are in the middle, I use milk mixture and those that are in front, I use water mixture. Another example is this cherry blossom wreath, where I use tea, milk and butter mixture on different areas of my composition. So for the core, I use butter mixture, for the actual petals, I use milk mixture. And for those that are falling cherry blossom petals or those are in the background, I used the mixture. Again. It is so important to know when and where to add intense colors and light colors for your occasion. So if you don't know and if you don't have any idea. The basic rule is if you want something to be notice like subject or a detail that is very important, you misuse intense color for that. And for those details that you don't want to be visible or you just want them to be added as background or extra details. You can place them using 18 mixture. That is it for quick lesson about color value scale. I'll see you on our next topic. 6. Brush Markings: Your brush is your main weapon when it comes to painting. Therefore, it is very important to get to know it so you can use it to its full potential. For today's lecture, I will introduce you to the different brushes that are essential in painting loose flowers, as well as the brush marks that they can create. I have here a round brush and oval brush, a liner brush, and a detail brush. Let's begin the lecture with a round brush. I have here my three mostly use round brush, the size eight, size six, and size two. So these are the silver black velvet voyage addition. There a travel brush version of the silver black velvet brush for today's demo, I'll be using the size eight, but you can use any size when you follow along. One of the brush marks that are round brush and create is the thin strokes. We do this by letting only the tip of our brush touch the paper. Let it touch and drag it. You can do this on any direction. You can do this on a current version as well. Again, only the tip of your brush is touching the paper. Don't put too much stress on your brush so that you won't create a big stroke. The second stroke that we can create using a round brush is a fixed rope. You can do this by pressing your brush against your paper and then dragging it. You can also lean your brush a little so it will be easier for you to drag your brush. The thickness of stroke that you can create depends on the size of your brush. If you're using a size eight brush, you can create bigger stroke. But if you're using a size two round brush, only smaller strokes can be created. The next stroke that your round brush can create is called flat stroke. You can do this by dragging the whole body of your brush across your papers. As you can see, my brush is facing the opposite direction. And you can see that I can create a very, very big stroke using my size ten round brush for an extra book, we will be combining our thick stroke and thin stroke. So we'll do this by pressing our brush on our paper and then slowly lifting it, breaths and then lift. So as you can see, I was able to create a one stroke leaf using this trope. And not only that, because using this type of stroke, you can also create battles. So this one is very important. And the secret and creating a perfect thick and thin combination stroke is by doing it slowly. So don't be in a hurry. Do it slowly and lift your brush slowly. So the next drug that we have is just the same as the combination stroke. But this time we'll make it a little bit curved. So as you can see, I made it a little curve at the top part. And I want you guys to practice this one in both directions. So going to the right and going to the left, because later on, this will be useful in creating, again leaves and petals. For our next couple of brush marks, we will be using an oval brush or Philbrick brush. The green one is size three for it, and the purple one is size three over eight. Just like a round brush and oval brush or a filbert brush can also create a lot of brush markings that are very useful in creating flowers and leaves. For our first brush mark, you will be using a size 3 fourth filbert brush. And what we're gonna do is twist the brush and use the side of it in creating marks. So as you can see here, I was able to create this rounded lines. And you can also do this by creating smaller versions. This is very useful in creating petals for small flowers like camomile or some fillers. As you can see when you use the side of a filbert brush, it can also create long line like this, and it really holds a good amount of water and pigment. Another useful stroke of a filbert brush as the flats stroke. So you can do this stroke by just dragging your brush from top to bottom. And as you can see, it created another round shape brush mark. Again, this is also useful for creating that also for camomile and some small flowers. Let's try it once more. So just do flat strokes. And later on when we paint our camomile, you can combine the side stroke and flat stroke when painting your petals, but I'll discuss it more when we're on the topic of painting flowers already. The next brush mark that we have for our filbert brush is called the half stroke. This is very similar to our flats stroke, but in here we're just using the half of our brush here. This is not so visible when you're using a small brush, but if we switch to a three-fourths size brush or something. Beggar, you will notice that this stroke is very beautiful as it can create short but rounded and wide strokes. So this is very useful in creating battles for anemone and some other flowers that has big round petals. That is it for our filbert brushes. Now let's go to our next brush, which is a liner brush. I have here, my script liner brush from silver black velvet. This one is incised, one. Using this brush you can create long thin lines because it can hold a lot of water and pigment on it. This is very useful in creating details like long stems or some foliage like branches. I always use this to create random branches on my paintings, especially for reads and bookcase. It can also create thick stroke, but this is the thickest and it didn't create. If you're using a size four liner brush, of course it didn't create bigger strokes. Aside from thin and thick strokes, this liner brush can also be useful in creating dots like this. And again, it can create a lot of dots because it can hold a lot of pigment and water on it. The best thing that this brush can create, its combination of three strokes, the thin and thick strokes. So again, you can use this to create random branches like this. Last brush that we have here is called detail brush. This one is the monoline brush in size 20 over 0 from silver silk eight, the eight. And the brush marks that this brush can create our thin and thick stroke as well, but it is very useful in creating thin lines for the core of your flowers. I use this for the core of my cherry blossom in creating dots and lines, as well as creating dots and lines for the core of my anemone is, of course, if you don't have this brush, you can use a small round brush is an alternative. But I would suggest that you use size 0 or size one. Maximum is size two round brush if you don't have a mono liner brush. So those are the brush marks that are essential brushes can create. You know, it is very important to get to know your brush, especially if you're just starting. The best thing that you can do is to use a few sets of brushes and play and explore with it while practicing. You'll not only get used to it, but you'll also discover more strokes that your brush can create. 7. Painting Leaves: Finally, we are now going to paint something. I know you're itching to create an actual art and thank you because you didn't skip the lessons. Leaves maybe the simplest botanical elements that you can paint, but they surely add a lot of beauty on your creation. On today's topic, we will learn how to paint different types of leaves using different brush strokes. So the first type of leaf that we have is called The wants to cleave. This is the same as what we have practice on our brush marking lecture earlier. So we'll do this by pressing or brush and then slowly lifting it. As you can see, I was able to create one stroke leaf by just doing that's true. Again, Let's do it. Press and then slowly lift, remember to slowly lifted so you won't miss the tip of your leaf. On your first few tries, you will surely not get a perfect shape of a leaf. But that's okay. Just keep on trying. Also, you're not aiming for a perfect leaf here, so that is totally fine. If you have a little bit of extra hair or something stroke beside your leaf, that's totally fine. We want something that is natural looking, so feel free to add a little bit of detail on your creation. Now let's go and do our second type of leaf. For our second type of leaf, what we're gonna do is create curve is C-shaped using thin, thick, thin stroke as well. So press your brush and then slowly curve is going up. So as you can see, it's similar to the first row that we have created, and then we'll just give it a partner. So as you can see, using the same size of brush, I was able to create bigger leaf. We're just doing two strokes, again, breaths and make it a little bit curve, and then give it a partner. For our third type of leaf, we're making a filler leaf, and we'll do this by creating curvy line as our main stem and adding some small leaves on some areas of it. So I have here my size six round brush and I'm going to create curvy stem like this. And then add some tiny stems and some leaves. You can do one stroke leave or to stroke leaf version for this one. And I want you to not make it perfect by giving each stem some partner. But it on areas that are not across each other so that there would be variation. And again, it won't look for effect because nature is not perfect. So let's do it again. Add some leaves. I'm using a size six round brush, but of course, you can use whatever size that you have. And it will really depend on the size of artwork that you're creating. Let's do it once more. Again. Please do it slowly. Because by doing it slowly, you can control your brush more. For our fourth type of leaf, what we're gonna do is create a bushy type of leaf. You can do this by creating one stroke or two stroke leaf and then adding some random thin lines around it. So this is just a carefree type of leaf. And I want you to do this because this really adds a lot of beauty and natural look on your creation later on. I know it's a bit weird to look at alone. But when this thing is on your creation, like your wreath or bouquet already, this really gives nice effect and texture on your painting. The next style of leaf that we have is a two tone leaf. What we'll do is just create one stroke or two stroke leaf. And while the base layer is still dry, we are going to add another shade of color. Either it's a darker shade of green or brown or Zapier. And this gives a very nice effect on your painting. And of course, this gives a dimension on your leaf. When doing this, you just have to make sure that the base layer or base leaf is still wet. So that would be a nice blending between the two shades. Our last type of leaf is the leaf of a camomile. So we'll do this by using a small size of brush and then just creating thin and thick strokes. It's just actually a combination of thin and thick stroke, which is a little longer compared to the one stroke leaf that we have practice. You can also add some random thin lines around it like this, just to give some dimension and interests on your underneath. My style of painting, botanical elements is actually not clean as what other artists are doing. I add a lot of random strokes and imperfect shapes because it's my expression of freedom and art. For me, nature isn't perfect yet, beautiful and that should also reflect on my art. Now, that is it on our quick lecture on how to paint leaves and loose painting style. I'm excited to see you on our next topic. 8. Painting Flowers Part 1: We are now on the most exciting part, flowers, using the learnings that you have gathered from our past lecture, we are now going to apply them and paint actual flowers. For this lesson, I will teach you how to paint floral elements in loose painting style. We will later on use these flowers to create R7 blooming reads. I'm sure you're excited. So let's begin. First flower that we're going to paint is a sweep B. I have here my size eight round brush and you sing IT team mixture of mocha. What we just need to do is Jagger brush and create some teardrops shape. You can extend the size of the shape depending on what size of better are you trying to create? There's no right or wrong here. All you need is a good imagination. If you're not familiar with the shape of a sweet pea. Here's the reference photo that you can check on. While the base layer of your sweet pea is still wet, we're going to add some concentrated mixture of moca on the edge. This is to copy the actual reference photo that we have. And it is also best if you will add stems of your sweet pea while the main flower is still wet just so there will be a little bleeding. Let's do it one more time. Same color. By the way, you don't have to use same color for your sweet b, you can actually use purple or blue or even yellow. This is just my choice. So you can pick your own color if you want. If this is your first time to create a sweet pea flower and didn't get it. That's totally fine. Just keep on trying and keep on practicing. Our second flower is a Canon Law, and we'll be using a small filbert brush for this. So for color we will be using Petersburg ocher. And what we're gonna do is just create flats, true? Remember the flat stroke that we practiced earlier? Create flat strokes that will circle around the core. This is the first version, and in here I want you to combine different water and color ratio. You steam milk and butter. Use butter for the first three and then add milk or add T. You can also use pure butter mixture or a pure milk mixture if you like. The second version is by using the side slope, will use the side of our filbert brush for this one. And same procedure will create battles circling around the core. Again, use different water in color ratio for each of your pet. Once you're done with your petals, we will make sure that it's dry already before we add our core. So we will be doing the wet on dry technique for this. For the core, I'll be using raw umber and butter mixture. This step is very simple. All you need to do is create the circle in the middle of your camomile. If you don't have raw umber, you can use yellow ocher. But if you use yellow ocher, your color will be a little brighter compared to raw umber. Once you're done with your core, we will let it dry again before we add an extra detail for our petals. So mine is already dry. I'm just checking. This time. We will be using watery mixture of Petersburg ocher and a small round brush. I'll be adding some lines in between my petals to separate them from each other. Our third flower is an anemone and I'll be using a tree fort oval brush for this one. All you need to do is create flat strokes like this. If you have smaller brush, you can combine two strokes to create one petal. For the color, I'm using pearl gray from them, scaffold, cetera. All you need to do is complete the petals. This one is a flat version of anemone. The second one, I'll be doing a site version. So I'll be creating three flat strokes for the petals. And then I'll combine one bunch of stroke for the bottom petal test. You can see the bottom petal is quite flat compared to those that are on top. Alright, so what we're gonna do next is let it dry first and then we will be adding the core. For the core, I'll be using a size six round brush and butter mixture of indigo. What I'm gonna do is just create a circle in the middle of my anemone. For the second anemone will just create a half circle for our core. Because we're trying to give an effect that the core is a little bit covered by the petals. Next step are the details. So I'm using a detail brush. I'm just creating dots around my core. So as you can see, I left a little space between the dots and the main circle. And that is because we will be connecting this using some lines later on. You don't have to wait for your main core to dry before doing this step, we can do wet on wet technique for this. Once you have completed all the dots, it's now time to add the lines. Create lines as thin skin. So it is really better to use mono liner brush or detail brush for this part of your painting. Be generous and creating the lines, create a smudge lines as you can. But also make sure that they won't create thick gloves or thick lines. Alright, now let's proceed to our second and M10. I'll be doing the dots again. For the dots, you can also create a lot of it. You don't have to limit yourself. After creating the dots. You can now proceed with the lines, same procedure. So as you can see, I only created half of the dots and half of the lines because again, we're trying to communicate that this anemone is a side view anemone. Next step is some shadows. So I have here a milk mixture of pearl gray and size two round brush. And what I'm doing is adding some thin lines between my petals. So as you can see, I'm also dissolving the strokes that I'm creating using clean water because we don't have to create harsh lines between our petals, so we just need to blend it and add a little bit of shadow. We're going to do the same step for our second anemone. Again, let's maintain the dimension of this flower by being careful when adding some shadows on the bottom petals. So our next flower is a cherry blossom. For this one, I'll be using a size eight round brush. You can use size than or a size six depending on the size of cherry blossom that you're trying to create. For this one, what we're gonna do is to scrape to stroke leaf, just like what we have practice. Create five of it. While the base layer of these petals are still wet, we are going to add some dots of concentrated color in the core for this cherry blossom, I'm using quinacridone, permanent magenta, but you may use any shade of pink or red. The key like, Let's try another one. Again. Just create by petals using the mixture of the color of your choice. And while the base layer is still wet, we're going to add some dots of concentrated mixture on the middle. Now for a single stroke, Cherry Blossom, what we're gonna do is just Jagger brush like this. Then for a side view Cherry Blossom, what we're gonna do is just create three petals. Then for the bottom part, we are going to create flat petal like this. So it's as if creating a smile on your cherry blossom. Same procedure while this base layer is still wet, we're going to add some dots for the core. This one I'm using milk mixture. We will let this base layer is dry up first before we add the main details for domain detail, I'm using a detail brush and adding some dots in the center for the color. Just use concentrated mixture of the color of your choice. For me, I'm using butter mixture of quinacridone, permanent magenta. So after adding the dots, you will add some lines as well. For this one, you can spread the dots even in the middle of the lines. We don't have to limit the dots on just the outer part of your core. You can put it in the middle on some areas just to give an effect that the core is spread all over the center of your cherry blossom. Again, before doing this, make sure that the base layer is 100% dry already. For the half chair you blossom. We'll just do the same. But again, like the anemone will just do half dots and half lines. We're not going to cover the bottom part of our cherry blossom. That's it for our cherry blossom. Let's move over to our next flower. 9. Painting Flowers Part 2: Our next flower is no other than the crowds favorite roses. In painting roses, what we're gonna do is paint or base layer first, using a size eight round brush, we will create soft base layer. Remember not to make the base of your rose perfect circle and curves and edges. So it will look more natural. I'm using t mixture for this one, but you can also use milk mixture. You may choose whatever color that you live with. For this one, I'm using mocha from Netscape, a literal. I'm creating a lot of base. So later on I can show you how to make the delta for a process. We will let this base layer dry first before we add another layer. Since the base of a rose is dry already, it's not the perfect time to add details. We will use butter mixture of Mocha and for the brushes we will use size two and size six alternately. On this part, we will apply the wet on dry technique that we have studied. In creating the details. We will apply thick and thin and C strokes. This is what we have learned on our past lecture. We'll do the C strokes alternately until we reach the edge of our base layer. For the core, we will be using a small brush, but as we go out of the center, we will switch to our size six brush and make bigger C strokes. For bigger C strokes, I'm also softening the edge by loading my brush with clean water. Through this, I can create soft transition from my strokes. This step is actually optional but highly recommended. If you're still having a hard time doing this C strokes. This is a refresher for you. Just create thin stroke and then slowly press your brush and then slowly lifted. So you're dragging your brush while slowly giving some pressure. I know it takes time to perfect this row, but it is very useful when you get used to it. Now let's try doing our second rose again. Again for the details, we're just doing C strokes on the core. And as we go out of the center, we're switching to a bigger brush. Don't forget to add our extra staff which is softening your edge by loading your brush with clean water. Let's refresh ourselves again with our details. And again, in creating your details, just creates C strokes and apply this thin, thick, thin strokes that we have learned on our past lecture. We'll do the C strokes alternately until we reach the edge of our base layer. And we will also switch to a bigger brush as we go out of the center. For the extra detail, we will be softening the edge of our bigger strokes by loading your brush with clean water. Arose will never look like a rose if we don't add leaves, a net. So for extra detail, you can also add some leaves and some areas of your dose. For our next flower, we are going to paint a rose again, but this time it's a rose while for the base layer we will be doing a cylindrical shape base. And then you can also add some extra stroke on some side like this. So create the same base cylinder type and then add some stroke like this. Now we will let this base layers dry air first before we add another detail. So create as much base as you can so that you can add more details later on for your practice. Since the base of my rose buds are already dry, I'm going to add the details now. For the details, this is actually the same as our main roles, but in here, instead of covering everything with C strokes, we are going to stop on the top part only. Once you're done. We are going to create a slightly diagonal stroke for the body of a rose bud. It's just easier right? Now let's go and proceed to our next rose bud will do the same procedure. It C strokes for the core or the top part of your rose bud. And once you have finished, we will add diagonal strokes on the buddy. Last one. Let's finish this one. If you're still having a hard time deciding where to add your stroke, you can actually check an actual photo and see where shadows are located. Those shadows will be your guide in deciding where to add your strokes. Let us add some leaves and stems for these rosebuds to add some extra details. As you can see, once you add the leaves already, it really adds a lot of details and it makes it more row C. Okay, so don't forget to add those videos. Next flower is a relentless in an unclear is a soft pink flower with the green core. Using a team mixture of Mocha for the base and milk mixture of green for the core. Using a size eight round brush, we will paint the core by creating curved strokes, so calling on each other. The next step is to add the core. Will add the core by creating circle of green strokes. In the middle part makes sure that the base layer is still wet when doing this, but not too wet, the green will spread all over your base already. Let's create another, an enclosed space here and add the green core in the middle. You have to be a little bit quick when doing this because if the base layer is already dry, it will be very obvious when you add the core. Next step is to add the folds and petals. We'll do this by creating long see stroke from the edge of the core until we reach our besides size, we will leave a little white space in-between to represent our highlights. I'll paint one more renin clues so I can prepare you later on. Before we paint our fleets. Again, let's paint the base layer. You seeing a very light mixture of the color of your choice, leave a little whitespace in the middle so we can have space for the core. Time to add the core is seeing my green earth of adding a circle in the middle of my base layer. Time to add the petals and the false. We'll do this by creating long see stroke from the edge of our core until we reach our desired size. We will leave little whitespaces, are little spaces in between to represent or highlights. Next flower is a dahlia, and we'll do the petals over Dahlia by creating checkmarks like this. Just press your brush and then quickly lifted. You can make it longer by slowly dragging it and then lifting it like this. Let's create our first Dahlia using a size six round brush and a milk mixture of maroon. I'm creating small check marks like this on the center of my Dahlia. And as I go out of this enter, my strokes are getting bigger. You only need to add more and more petals until you reach the size that you want. For this layer, I'm using a mixture of tea and milk mixture. While this layer is still wet, I'm going to add butter mixture on some areas. And since the base layer is still wet, this will create a nice blend between the two layers. It is also nice if you will, add random thin lines on the other part of your Dahlia just to create some illusion that there is some petals at the back part. And that's it. Let's do another one this time. I'm going to use purple, the base layer, create the core of your dahlia by creating small checkmarks, and then create bigger check marks as you go out of the center. Again, use D and milk mixture for this layer. Remember that balanced the size of your data yet to the size of your battles. If you're creating a big dipole, dahlia, petals should be bigger as well. Again, after creating the base layer, we will add the darker mixture of color. Make sure that the base layer is still wet. When doing this. Not too wet, the base layer will be fully consumed by your second layer, but still wet enough for the first layer and second layer to mix beautifully. The last step is to add some thin lines on the edge to represent some petals at the back part of that is it for our dahlia? If you want to learn more about painting dahlias and roses, I have a class here on Skillshare that will surely help you. That is it for painting flowers. I'm excited to see you on the next topic. 10. Tips on Creating a Beautiful Wreath: One of the best things to bank using loose painting style. This circular floral arrangement shows nothing but beautiful flow of flour and other botanical elements. On this topic, I will share with you three tips on how to create a beautiful and well-balanced three. Ip number one, create the guide. Creating a guide before diving into painting is very essential as this will help you place your subjects to your wreath in a more neat manner. Without the guy, you might end up placing your subjects or foliage on areas that will make your whole composition look imbalance. Basically, you can use anything as your guide. For circular deeds. I always use my candle cover and for ovals, I use a plate that I got from ikea. Again, you don't have to buy an expensive supplier for you to create the guide, you just need to be resourceful. Step number two is complementing colors. Whether you're creating a wreath or a bouquet or landscape composition, having a harmonious flow on your color is important so that the whole look of your artwork is balanced. If you're not sure what colors to choose for your painting, you can always check Pinterest for inspiration. Yes, you don't have to limit yourself to just checking floral paintings. Inspirations are everywhere. You can check interior design, color palette, color combination for outfits, nature photography, everything. Let Creative Juice be enhanced by exploring different sources of inspiration. Number three, create the flow and stick to it. It is very important to plan where to place your subjects. Aside from that, you must also decide whether you're creating a half wreath, a full-width, or frame. And lastly, remember not to overdo your wreath and know when to stop. Now that you're ready and equipped with all the lessons and tips that I serve you. I'm sure you're beyond ready to create your class projects. Before we dive in, I want to remind you of something. If your work doesn't look the same as mine or your output doesn't seem presentable in your own judgment. Don't stop. It takes time and practice to develop a muscle memory. Keep creating and focus on your goal. Okay, now let's go and fainter for sleep. 11. Day 1: Peach Roses: Finally, we are down to our painting challenge. I'm sure all of you are excited to apply everything that you have learned from our class. So now let's begin our loose floral rechallenge. This is the first composition that we will create. And as you can see, it's a beautiful wreath consisting of soft peach roses surrounded with yellow and wage fillers. This is a good start for our challenge because this painting contains one type of subject only, which is the peach roses. We will begin this composition by painting the base layer of our 0s, followed by adding the details of our main subject and finishing off by adding fillers and main leaves. Before we start here, the materials that we need for this week, for the colors we will be using. Mocha, Petersburg ocher, green, Ernst Van **** brown, undersea green and yellow ocher. For the brushes, I'll be using silver black velvet size 862. We'll also be using silver black velvet liner brush, which is in size one, and the silver silk eight to eight mono liner brush in size 20 over 0. Lastly, for the paper, I'll be using the White Nights watercolor paper, which is a 300 GSM paper in 100% cotton. To help you create a perfect grid, we will initially create a circle guide by drawing it. We will now erase the initial guide that we have created for it to be not be very visible later when we paint the watercolor over it. For our main subject, we will use this beautiful shade, which is called Moka from them Skype Elektra. Our base layer will be in milk mixture. So for our first row, we will apply everything that we have learned on our previous lecture. Using a size eight round brush, we will create a soft base layer for our rows. Remember not to make the base a perfect sukha. Add curves and edges, so it will look natural. Now let's move over to our second row. So for this, we will apply the same principle. Paid the base layer will milk mixture of Mocha and then make the shape of euros at G and curvy at the same time. When you're done with your base layer, you can add a concentrated mixture of moca on the center of your dose. This will later on give depth to the core. On this part, we will apply the wet on wet technique that we have studied earlier. Our third rows will be placed on the lower left side of already. Same process will apply, paint the base layer with the milk mixture of Mocha and add a concentrated mixture of color in the center of the base. We will let our base layers to dry first before adding some details while waiting, let's first add some leaves on already. So this is the base layer of our leaves. And with this, we will be using green earth from Netscape bilateral mixed with undersea green and a little bit of Van **** brown. For the base leaves. I'm using a size eight round brush and a milk mixture of the color that I've mentioned earlier. We will combine the one stroke leaf and the two strokes leaf. This is the style that we have studied earlier and it will be nice as well to add a little thin strokes on some areas. You can always check our finished painting on the project and resources section. So you will have a guide on where to add the leaves. This step is very important, especially now that we're just on the structure pace of our painting. Even though I'm using milk mixture and the base layer, it will be good if you will add a little water or color on your strokes every now and then through this urea, it will have a variety of shades. And it will also help you practice the art of controlling water on your brush. We are now done with our base layer. As you notice, we can now see the whole structure of Verde's. For the next steps, we will focus on the details and fillers that will make a wreath look more full and balance. Since the vase over rows is already dry, it's now the perfect time to add the details. We will use a butter mixture of Mocha and for the brushes, we will use size to n size six alternately. On this part, we will apply the wet on dry technique that we have studied earlier. In creating the details, we will apply the thin, thick, thin NC strokes that we have learned on our past lecture. We will do the C strokes alternately until we reach the edge of our base layer. For the core, we will be using a small brush, but as we go out of the center, we will switch our brush to size six and make RC strokes even bigger. For the bigger strokes. I'm also softening the edge by loading my brush with clean water. Through this, I can create a soft transition from my strokes. This step is actually optional but highly recommended. Continue adding the strokes until you reach the edge of your base layer. Now this, we are done with their first rose. Let's go to the next one. Here we will just apply the same steps that we did on the first one. Start again with the base layer and apply C strokes. We will do the C strokes alternately until we reach the edge of our base layer. Aside from the C strokes, it will be good to add thin lines as well. These still lines will represent the top petals on your own. Now let's go to the third rules over composition. We will again apply the wet on dry technique and creates the stroke from core to the edge. Remember to insert some thin strokes in between to add some elements on our own. Mastering how to paint through stakes time, euros may not look exactly the same as mine, but with the newest practice, you'll be able to develop your muscle memory and you'll get to use to the flow of water. And who knows, you might even get to create your own painting style. We have now passed the hardest part of this wreath on the next base, we will now focus on making a wreath look more balanced, and that includes the overall structure as well as the color. So the next detail that we will add is the floral fillers. For this, we will use butter mixture of yellow ocher, but feel free to add some milk and team mixture on some areas. Using my size six round brush, I will just create downwards strokes of around three to five for each set. Remember to add distance on each set so it won't look too crowded. Spread the filler is all over the wreath until you covered almost all the areas. For this step, we will connect the yellow fillers that we have created to our main wreath. We will use a butter mixture of undersea green for this one. When doing this step, you have to make sure that the petals that you have created that are either dry already are in cold state. Called means that it's still wet but not too wet. The color will bleed so much. On this stuff. We are now going to add our main leaves. We will use a milk mixture of undersea green, but this mixture is close to the water mixture. Are there any remembered the color value scale, we will apply the second shape. From there. I'm using a size eight round brush for our main leaves. We will combine one stroke and a two stroke leaves. And I'll also be adding some small dots and thin strokes on some areas to add little details on our composition. I change my brush to a liner brush and get some gains in D and milk mixture. I will add random thin and thick strokes with dots, which will look like wild branches all over already. This is a very beautiful element to add on every composition notches on. For our final detail, we will add another set of floral filler. This time, we will use Petersburg occur and create some small circular flowers on there. We will connect the beach fillers that we have created to our main wreath using our undersea green and our monogram liner brush. This is the final step on their composition. But if you think that you read is still imbalance, what you can do a step out and look at it on a distance. You can add big leaves on some areas, but use a team mixture colors so the color won't be too harsh. You may also add extra fillers on some areas that still looks empty. And we are finally done. I hope you were able to follow along and I hope you are able to finish your first project. I'm excited to see it, so I hope you can upload it on a project section. I'll see you tomorrow for our next class project. 12. Day 2: Dahlias and Roses Frame: Welcome to day two of our fainting challenge for today's art work. We're going to paint this beautiful full bloom Dallas and roses frame. We will use a lot of vintage stones in this art piece. So your color combinations skills will be enhanced on this project. Let's begin the lecture by knowing the supplies that we need for the class. For the colors, we will be using. Shadow violet from a jello. Shadow violet from Daniel Smith, maroon, Petersburg, ocher, green earth, Van **** brown, undersea green and sap. Yeah. For the brushes, I'll be using the silver black velvet size 862, silver black velvet liner brush in size one, silver silk 8281 liner brush in size 20 over 0. And for the paper, I'll be using the Skype allotrope watercolor paper in 300 GSM, A4 size in 100 births and gotten to this artwork is quite different as we will be using rectangular guide instead of a circle. I have here a five by seven frame, Matt and I will use this to draw our guide. We will now erase the initial guide that we have created for it to be not been very visible later on when we paint the watercolor over it. Our next step is to cover the rectangle with some washi tape or masking tape to preserve the sharp rectangle shape. This will prevent the watercolor from flowing over the guide that we have created. We will now start our painting session as our first subject. We will paint a rose and vintage don't. You can achieve this shade that I'm using by mixing shadow violet from Daniel Smith and shadow violet from a jello. I'm using a milk mixture for our base layer and for the brush, I'm using a size eight round brush. Remember not to make the base layer of euros a perfect circle and curves and edges, so it will look more natural. As you can see, I'm painting over the washi tape. And that is because through this technique I can see the full look of marrows and that will help me create the right shape and size of marrows. Now for the next step, you can opt to continue on the second element beside your purple rose or move to the other side on my painting, I'll show you first where we will be adding the main element on the other side so you can choose which one to do first. For our second element, I will be using the color maroon from landscape Elektra. We will be painting a dahlia for this one, as we have studied on our previous lecture, we will do the check mark strokes from the core until we reach the size of Dahlia that we want. While the base layer of our dahlia is still wet, we will add some butter mixture of maroon on one side to create shadow for the battles. We will let the base layer dry first before we proceed an adding another layer. For now, let's go back to our first row spurs. Since the base of our rose is dry already, it's now the perfect time to add the details. We will use a butter mixture of shadow violet, and for the brushes, we will use size to incise six alternately. On this part, we will apply the wet-on-dry technique that we have studied. In creating details. We will apply the thin and thick strokes that we have learned on our past lecture. We will do the C strokes alternately. Until we reach the edge of our base layer. For the core, we will be using a small brush, but as we go out of the center, we will switch our brush to a size six to make bigger C strokes. For the bigger C strokes, I'm also softening its edge by loading my brush with clean water. Through this, I can create a soft transition from my strokes. This step is actually optional but highly recommended. Since we are now done with the rows, let's go back to our value and add more details. The base layer of our dahlia is already dry and that means we can now do the wet on dry technique. You see a concentrated mixture of maroon. We will add some checkmarks on some parts of our dahlia. This will strengthen the shadow part and we'll add more depth to our subject. And we are done with our dahlia. Now it's time to proceed to our secondary subjects. For this one, we will be painting a Waitrose using Petersburg ocher. For this, we will apply the same principle. Paint the base layer with milk mixture of the color and then make a shape of the roast at G and curvy at the same time. Now we will wait for this layer to dry up first. For now let's proceed to another secondary subject. This time we'll paint a rose bud. We will use the same color as our rows, which is a mixture of shadow violet from both made jello and Daniel Smith, paint the base layer with the milk mixture of shadow violet, and add the concentrated mixture of color in the center of the base. We will let the base layer is dry first before adding some details. While waiting, let's first add some base leaves on our frame. For our leaves, we will combine green earth from landscape Alexa, undersea green from Daniel Smith, and a little bit of Van **** brown. For the leaves. I'm using size six round brush and milk mixture of the colors that we have combined earlier. We will combine one stroke leaf and to stroke leaves style for this, it will be nice as well to add a little thin lines every now and then, to add interests on our floral frame. You can always check our finished painting on the project and resources section. So you will have a guide on where to add the leaves. Our base layer dried out so fast. So it's now the perfect time to add the bigger ones. For this, I'll be using size eight round brush. I'll be mixing green earth with Van **** brown and aim for a concentrated milk mixture for my needs. We will combine one stroke and do so cleaves for this as well. And I'll also be adding some thin strokes on some areas to add some little fillers. The next detail that we will add is the Florida fillers. I switched my brush to an oval crescent brush to create some small floral fillers using the color in my ruler. I'm using the sides of my brush to paint the petals. And just a reminder, remember to add distance to each set so it won't look too crowded. Since the base of a rose is dry already, it's not the perfect time to add the details. We will use a butter mixture of Petersburg occur and for the brushes will use size to n size six alternately. We will do this c strokes alternately until we reached the edge of our base layer. For the core, we will be using a small brush which has size two. But as we go out of the center, we will switch our brush to size six and make bigger C strokes. By this time, we can now see the basic structure of our half brain. However, the frame still looks pale and spacious, so we must add more fillers. I have here, my size two round brush and using a concentrated mixture of undersea green mixed with Van **** brown, we will be adding small leaves all over our frame. This on areas that needs more dark tones. You can also make something lines around it to add more beauty. Now let's add the last few details may add in core to our floral filler. I'm using sap, yeah, and a size two round brush. We're creating thin strokes all over the core. For this one. I will change my brush to a liner brush and get some greens in tea and milk mixture. I will add some random thin and thick strokes with dots, which will look like wild branches all over already. This is a beautiful element on every composition. So I suggest that you add this as well. Before we go to the other half of our frame, Let's add the details over rows. But first, we will do C strokes for this one. But the difference is we will create some curving downward stroke on the lower part to show the body of our rose bud. Now back to the other half of our UT. Let's turn our paper and now let's begin the second half by painting are marooned. Dial. Yeah. Just like what we did earlier, we will do the check mark strokes from the core until we reach the size of value that we want. While the base layer of our dahlia is still wet, we will add some butter mixture of maroon on one side to create some shadows for our petals. We will let this base layer dry first before we proceed in adding another layer. Now let's go and paint and other data. This time it's a white one. So same steps will apply. Create the base layer using milk mixture, then apply some shadows using some concentrated mixture of Petersburg ocher. We will let our base layers to dry first before adding some details while waiting, let's first add some base leaves on our frame. For leaves, we will combine green earth from that scaffold, Deidre undersea green from Daniel Smith, and a little bit of Van **** brown from each yellow. We will use different water in color ratio for this to speed up the process plus to give more dimension to our frame as well. Also for this part of our leaves, we will combine different types of leaves. So I have here one stroke to stroke, thin lines and even small leans. Let your creative instinct flow on this part. I now switch my brush, do an oval crescent brush to create some small floral fillers using color maroon. For this, I'm combining different water in color ratio for each petal to add interests and color flow on my painting. Time to add the main leaves for this section in here, I will use a mixture of Van **** brown, green earth and undersea green. We will add different sizes of leaves all over the frame. For this, I'll be using size eight round brush. But as you notice, even if I'm using the same big brush, I can still create small leaves. And that's the beauty of a high-quality brush like the Black Velvet. It has a very pointed tip. That's why it can create tiny strokes and has big belly that can create big strokes. To complete the leaf spot, I'm switching again to a liner brush and add more wild branches using a tea mixture of color. Now let's go back to our data and add more details. The base layer of our dahlia is already dried. That means we can now do the wet on dry technique using a concentrated mixture of maroon. We will add some checkmarks on some parts of our dahlia. This will strengthen the shadow part and we'll add more depth to our subject. We will do this same strokes to our white dahlia, but in here we will use Petersburg ocher. So you have to use a very concentrated mixture of Petersburg occurs since it's a light color. Now let's add the last few details by adding color to our Florida filler. For this, I'm using sepia and a size two round brush. We are creating thin strokes all over the core for this one. As my last detail I got here and my size two round brush and using a concentrated mixture of undersea green mixed with Van **** brown, we will be adding some small leaves all over frame. And this on areas that needs more dark tones. You can also make something lines around it to add more beauty on your cation. That is it for our datas and Rosa supreme. I know it's long, but I'm sure you're able to create a beautiful floral frame out of it. I'm excited to see it, so don't forget to upload it on the project section of our class. I'll see you tomorrow for our next class project. 13. Day 3: Anemone Ranunculus: Hello and welcome back to our class for today's art piece, we're going to paint this oval wreath consisting of anemone is Andrew Nicholas. We will begin this whimsical project by painting the base layer of our eighth, followed by adding the details of our main subject. And we will finish up by adding the floral fillers like camomile and sweet piece. Here are the supplies that we need for the class, for the colors. We need potters, pink, yellow, ocher, indigo, Petersburg ocher, green, earth, burden, green and undersea green. For the brushes, I'll be using silver crystal oval brush in size three over four. Silver black velvet, size 862. Silver black velvet liner brush in size one. Silver silk 88 mono liner brush in size 20 over 0, and silver silk 88 over crescent brush in size three over eight. For the paper, I'll be using the next guy, but literal watercolor paper in 300 GSM, A4 size, which is a 100% cotton. To begin our project, we will create an overall guide with a pencil. I'm using an oval plate here as my guide, but you will use anything that has a similar shape. After creating our guide, you can erase it a little so it won't mean very visible when we paint over it. Later on. We are now going to add our first element, which is a pink run-on clueless as we have studied, or an alkalosis, the green course. So for our painting, we will use a milk mixture of green earth for the core. Using a size eight round brush, we will paint the core by creating curved stroke, circling to each other. Our next step is to paint the petals. For the petals, we will use a team mixture of potters, pink from Daniel Smith. We will do the petals by creating long C strokes from the edge of the core until we reach our desired size. We will leave a little white space in-between to represent our highlights. We will let the base layer of random colors dry out first. So for now, let's proceed to our second subject. For this, I'll be using brittle gray from Netscape electrons, and we're going to paint the base layer of money. We will use the three-fourths crystal oval brush for this one. So what we're gonna do is we will do flat strokes for the petals and then add some concentrated shades up, Procreate in-between to add some shadows. Basically, we will just apply what we have learned from our past lecture. Let's make another anemone on the other side, do flat strokes for the petals and then add some more concentrated shades in between to create some shadows. It's just so easy, right? You can turn your paper around as it will make it easier for you to paint. We will add the base layers dry out first before adding some details while waiting, let's first add some base leaves for RD. For leaves, we will use a team mixture of green earth from Netscape by the TRA. And I'm using a size eight round brush here. We will combine the one stroke leaf and the two strokes leaf for this. And it will also be nice to add a little thin lines every now and then to add some interests on Laurie. You can always check our finished painting on the project and resources section. So you will have a guide on where to add the leads. This step is very important, especially now that we're just on the structural base of our painting. As you notice, I also have some whitespaces on Psalm areas. This is to give space for the other elements later on. We are now done with the base element. As you can see, we can now see the whole structure of a wreath. For the next steps, we will focus on adding details and some failures that will make these look more full and balance. Let's begin by adding the details on Ireland and killers using a butter Mixture, potters pink. Let's now add the details. In creating the details, we will just apply the long C strokes that we have learned on our past lecture. We will do the C strokes alternately in combination with some thin lines until we reach the edge of our base layer. Now it's time to add some details for the anemone. So let's start with the core and we will use indigo from Magellan Mission Gold for this one. Using a butter mixture of indigo and a size eight round brush, we will add a flat dome in the core over anemone. You don't have to make this area perfect, make it look natural, but adding some spikes on your core. We will switch our brush or monoline or one and add some dots around the dome. Notice that I left some space in between the dots and the dome. And that's because I will be adding some lines to connect them later on. So keep on adding the dots until you have covered the whole DOM. Time to add the lines using the same color and brush. Let's connect the dots and the dome by creating thin lines. And now we're done with the core. We will add more details for this flower, but for now let's proceed with the second anemone. We will do the same steps using a size eight round brush and a butter mixture of indigo, we will add the small circle in the core of our anemone. We will switch our brush to ammonia liner one and add dots around the core, as many dots as again, but make sure to maintain the neatness over your core. Time to add the lines using the same color and brush. Let's now connect the dots and the car by creating the lines. If you will check on our painting, you will see that the petals that we have created earlier merge or Ledi. And that's why we need to add more concentrated strokes to separate them. Using a size two round brush and a milk mixture of pearl gray, we will be adding some curvy thin lines in between our petals. Let's move to our second anemone and we will just do the same stroke justice what we did on our first anemone. Personally, I love painting anemone acid has a very delicate yet strong look at the same time. It goes well on any arrangement because of its color and shape. It's fillers time. Our first pillar will be a camomile. We will use Petersburg ocher for this one and an oboe cousin brush. In painting a camomile, we will use the side of our brush to create our battles. We will leave an empty circle in the middle as a space for our yellow ocher. Later on, I combined butter and milk mixture of Petersburg ocher for our petals. I did that. So there will be an extra detail for each over further. We will continue to add some camomile until we spread it around our main subject. For reference, you can check our project resource section so you would know where to place the elements for this painting. Are you guys having fun? I hope you are. If you're feeling that you're painting doesn't look good at this moment or your work doesn't look the same as mine, that's totally normal. But remember, you must finish your break. You can only see the true beauty of your creation once it's done. So don't give up easily. Alright, so let's add more camomile, same procedure. Use the side of your brush to create our battles. And we will leave an empty space in the middle as a space for our yellow color. Later on. For our next fillers, we will surround our wreath with some dentists, sweet B, we will use a combination of tea and milk mixture for the base layer, and then we will add watery mixture for the details. In painting a sweep be all you need to do is track our brush and create some teardrop shape. You can extend the size of the shape depending on what side of the petal are you trying to create. There is no right or wrong here, so don't feel pressured. All you need is a good imagination. It's also best if you will use milk and D mixture for each of the petals. For a third sweet to eat, it will be a little bigger. I'll drag my brush to create one big bet. For, for Tweet be it will be placed in this area. And again, we will focus on one petal and just a shadow of battle. For the fifth one, I'll make it a little smaller since we already approaching the end of Verde. For the 61, I'll create one big petal and two small petals on the side to make it look. So. We will add milk mixture on one side and some shadow for the flower for the last week be, we'll make it small, just one and a little thin line, decided. Using a butter mixture of green earth, we will connect our sweet beast and make a stem. We will use the monoline brush for this one. We'll make the line curvy so it will not look stiff. As I always tell you. You can tweak the details of the street and add elements that I'm not adding. You can also change some colors if you want to. Just make sure that the changes you make steel compliments the whole painting. The next step, we will add some extra details on our sweet BCE using a small brush and a butler mixture of potters pink, we will add some dark lines on the edge of our battles to separate them from each other. And this is also to copy the original design of a sweep. Just a reminder, you can only do this step when the base layer is already dry or in cold state. Then to add some core for camomile, we will use a butter mixture of yellow ocher for this one. All you need to do is create the circle in the middle of our flower. They need to fill in everything until you've finished all the camomile that you have painted. But make sure that the metals are already dry before doing this, as this is a wet on dry technique. The next step we are now going to add our main leaves. We will use a milk mixture of green earth, but I'll also be adding some pops of the mixture. For domain leaves, I'll be using a size eight round brush and I'll combine one stroke and two stroke means. I'll also be adding some small dots and thin strokes in some areas to add little fillers. For the next batch of leaves, I will be using another shade of color, which is undersea green. Using a size six brush, I'll add some small leaves all over dirty. I'll combine milk and the mixture shades for this type of Lean. By this time, we can now see the whole look of a wreath. It's so beautiful, right? But that's not it. We will make it look more dreamy by adding more fillers. Later on. I'll change my brush to align our brush and get some greens and D In milk mixture. I will add random, thin and thick strokes with dots, which will look like wild branches all over already. This is a beautiful elements that you can add on every composition. For our final detail, we will add another set of floral filler. I will add some camomile on the sides, compliment our sweet peas. Again, we will use Petersburg ocher for this one and an oval cousin brush. So as usual, we are using the side of our brush to create our petals. We will leave an empty space, an empty circle in the middle of space for our yellow ocher later on. Please don't forget to combine the butter and milk mixture of Petersburg occur for our petals. I did this. So there will be an extra detail for this filler. While waiting for the petals to dry, we will go back to the first match of camomile first, let's add some water mixture in between the petals, the separate them. This step is optional but highly recommended. So if you think that your petals are quite mixing, all emerging already, you can do this step. But if you think that the petals are already separated from each other, you can skip this part. It's time to add the core of our camomile. Again, we will use a butter mixture of yellow ocher for this one, just create a circle in the middle of our flower. Last fillers will be some small leaves around their camomile. We will do this so that these flowers won't look separated from the whole wreath. Using a size two and size six brush. Add some small leaves. New York camel miles. Make them look soft and blurry so they will match the overall theme of our painting. I notice that some of the core of my camomile turn so light. So I'm going to add another layer on top of them to make it pop up. Again. We always have to make sure that everything looks balanced. So in this part, I want you to step back and assess the overall look of your wreath. If you see some areas that are empty, make sure to add leaves are fillers there. That is it for today's project. It's beautiful, right? I hope you enjoyed doing it and I hope to see your projects, so please upload it on our class project section. I'll see you tomorrow for our next project. 14. Day 4: Cherry Blossom Wreath: Hello and welcome back to our class. For today's topic, we are going to paint this beautiful pink cherry blossom wreath. We will apply the techniques that we have learned from our previous lectures, like the wet-on-wet technique, wet on dry technique, bleeding technique, and so many others. So before we begin, we will be discussing first all the things that we need for the class. For the colors, we will be using quinacridone, permanent magenta, Berlin, maroon, lavender, and undersea green. For the brushes, I'll be using silver black velvet, size 862, silver black velvet liner brush in size one, and silver silk 88 mono liner brush in size 20 over 0. For the paper, I'll be using the bell hung watercolor paper, which is 300 GSM, 100% cotton. I got my paper into square shape, but you can still use a rectangular shape if you want. Let's begin by creating our guide. I have here my circular guy and using a pencil, I will create a circle guide for early. To make my guide not so visible later on, I will erase it a little and leave a very light shade of it. So the next step that will do is mix our color for our main cherry blossom albedo, mixing quinacridone, permanent magenta, perylene, maroon, and a little bit of lavender. For our leaves, I will be using undersea green from Daniel Smith. We will mix quinacridone, permanent magenta, perylene, maroon, and lavender to arrive on the shade. This shade is the one that we will use for the whole cherry blossom wreath later on. Let's paint our first Cherry Blossom. All we need to do is create five petals by combining this thin strokes that we use for ease, add some thin curved lines on each side of each petal to add details on our cherry blossom. While the base of our cherry blossom is still wet, we will add a concentrated mixture of perylene maroon in the center of our flower. We will like this color bleed a little and wait for it to dry later on. For our second Cherry Blossom, we will do the same as our first, just combined five petals by creating thin, thick strokes and add some thin curved lines on each side of each petal. We will now add the more concentrated mixture of perylene maroon and the center of our flower. We will continue painting the same process of cherry blossom until we have completed the whole circle that we have created a year. This secret in creating a beautiful cherry blossom flower is to do it slowly. Each flower requires both wet on wet and wet on dry technique. So knowing when to add each stroke matters. Painting that involves a subject that's repeatedly done can be a little boring at times. But if we focus on the final piece that we wanted to create, we will learn to enjoy the process and discover something new on each flower that knee pain. Okay, so we'll just continue creating the petals, adding thin lines on the side of each metal, and adding the more concentrated perylene maroon at the center of each flower. What's amazing about watercolor is that even if you accidentally pick a dark color, it was really light than once. It's dry. So don't be afraid to pick colors. Play with your palate. Understand the flow of water on each stroke, and just enjoy the process. And we are done with our first part. This is the main wreath on this painting. For our next base, we will surround our main wreath with small cherry blossoms. And we will make these flowers appear as if they are behind. The main reason for this, what we will do is create half flowers, three to four petals for each flower is enough. And we will use this team mixture of quinacridone, permanent magenta, perylene, maroon and lavender mixture. You will create 12 petals. It doesn't have to be three to four. You can actually add just one petal or to battle. So surround your main wreath, This little flowers, until we have completed the whole circle. For me, the hardest part in watercolor is waiting. When I was starting, I always mess up. We were because I can control myself and wait for the layer to dry first. Instead of beautiful flowers, I always end up creating blobs. So I want you to avoid that. Remember, beautiful things comes to those who wait. Aside from doing the half flowers on the inner part of our wreath, we will do the same on the outer part as well. So create one or two or three or four, that does. For each flower and surround your main wreath with it, we will use the same mixture, which is a team mixture for this set of flowers. Again, we will continue painting this half flowers until we've finished surrounding our main wreath. Using a small brush and a milk mixture of very didn't maroon, We will now add the core of our cherry blossoms. As you notice, I use milk mixture here instead of butter. That is because these flowers are just feathers. They're not the main subject. Hence, the eye of the people who will look at this painting should still be drawn to our main wreath. Our next step is to use the monoline brush to add the core over eat. So this is the main details of our cherry blossom. What we will do is add thin lines in the center like this. This if you can. And we will also add some dots on top of it. Remember to only do this step if the base layer of your main wreath is 100% dry already, if it's still cold or it's still wet, it will ruin your work because we will be applying the wet on dry technique on this part. If you want to learn more about painting cherry blossoms, specifically cherry blossoms in vintage don'ts. I have a specific glass focusing on this topic and you can watch it here on Skillshare. I have link it down below so you can visit it. Once you're done adding the details and the main wreath, we will do the filler flowers next three days. Instead of using perylene maroon in the butter mixture, we will use milk mixture instead. We will do the same process and thin lines and add dots on top of them. If you feel like your work, this is beautiful or it doesn't look the same as what I'm doing, that's totally fine. But please don't give up and please continue and finish your project. You will see the beauty of your work, wants it done. We are finally on the last phase of our class. On this part, we will paint some small leaves surrounding already. I'll be using undersea green in milk mixture for this part. Add water on your brush every now and then to create different value of color for the leaves, I'll be using the one stroke leaf technique that we have studied. Keep on adding leaves around the early and make sure to add distance on each leaf. You don't want to, you're wreath the look crowded and you don't want the leaves to overpower. The main reason. For a second to the last part, we will be adding some falling cherry blossom and using this shade, which is a team mixture, we will be adding some checkmarks using our size six brush. Just dab your brush around your wreath and spread it all over. For the last detail, Let's get a liner brush and get some greens in D and milk mixture. I'll add some random thin and thick strokes with that, which will look like wild branches all over. This is a beautiful element that you can add on every composition. That is it on our day for read. So I hope you guys were able to follow along and I'm so excited to see your project for today. So I hope you can upload it on our project section. Thank you so much and I'll see you tomorrow for our next project. 15. Day 5: Vintage Wreath: Hello, hello. Welcome back to our class. For today's project, we are going to take a break from those complicated flowers, like roses and peonies. And we are going to create instead this beautiful and simple vintage wreath. So for this one we're going to use leaves and fillers only. And before we begin here, the supplies that we need for the class, for the colors, we only need three, yellow ocher, Van **** brown, and green earth. For the brushes. We also need three. Silver black velvet, size 62. Silver black velvet liner brush in size one, silver silk 88 over crescent brush in size three over eight. For the paper, we will be using the Nazca political watercolor paper and A4 size 300 GSM, 100% cotton. As usual, we will begin this week by creating a guide. So I have here my favorite circular guide and my pencil. For our first layer, we will mix a team mixture of green earnest and Van **** brown. Using a size six round brush, we will paint our first few leaves. We will combine the one stroke leave and the stroke leaves that we have practiced earlier. We will also add some thin strokes to add a little bit of detail. After painting around six long leaves, we will add our second layer. We will do this when the initial layer is already dry. We have to wait a little so that the colors won't create a blob. For a second layer, I am using here a mixture of Van **** brown and greener. But this time the color is leaning towards the brown shape. As you can see aside from the leaves, we are also adding some lines and this is to give it some more dimension and interests. On the next strokes, I want you to take advantage of your color palette and create leaves strokes using different water and color ratio. We will do this until we reach the end over 3.5 dots and lines on top of your leaves to add interest. This type of wreath is a great exercise if you want to practice more of your creative instincts. Since this requires your creative decision when it comes to choosing the appropriate water and color ratio for a certain stroke. Now, on this part we will be adding in establishing the base stem over these. For this, we will use a milk mixture of Van **** brown, and we will use a size six round brush. We will switch to a liner brush and add our favorite thin and thick stroke. This that will create beautiful effect on your painting. And we'll also add dimension as we will be using milk mixture, shade of green earth mixed like Van **** brown. Once you're done, we will turn our paper and paint the other half overly. Basically, we will just mirror what we did on the other half. But since we are using watercolor, we will not be able to control the flow of water on our paper. And that will surely make each of our stroke kidney. For the base layer, we will use a team mixture again. We will paint the half of the wreath with it before we change our color to a more intense one. Now that the base layer is done in dry already, I am now adding the second layer and I'm using a more concentrated color, which is a milk mixture. We would add smaller leaves on some areas and keeps some spaces open so we can add more layers later. I noted here reads don't look exactly as mine and that's totally fine. What's more important is the look of your whole wreath. Make sure that it's balanced from composition up to color. On this stage, I want you to add more wild leaves on your wreath. Meaning you must add more curvy leaves. Place more foliage outside the base circle that we have created. We will switch to our liner brush for this part, but instead of using a milk mixture, we will initially use T shades of colors so that we can add more fillers later on. Just like our half-reaction, we are now going to add the main stem over e. And this is by using milk mixture of VR shade. Time to add some filler is using yellow ocher and an oval crescent brush. We will now add some simple floral fillers to or read. We will do this by adding three to four sides strokes using our oval crescent brush. We will add this fielders all over, but we have to make sure that the distance between each set are equal. Already is almost done. To add some more final touches, we will use our liner brush again and add more thin branches story. This time, we will use the butter mixture of Van **** brown to add strong leader on our composition. To add more intensity to already, we will use a butter mixture of Van **** brown to add another set of Florida fillers. This time, we will use a round brush in size two and add our strokes. We will add the fluorophore dealers all over our wreath while maintaining proper distance with each other. As you can see, our wreath is almost done. But if you are still look imbalance, what you can do is add more smaller leaves in team mixture. This is the safest way to make your wreath look balanced on both color and form. Finally, we are done. I hope you were able to follow along and I'm very excited to see your project for today. So please upload it on the class project section. I'll see you tomorrow for our next topic. 16. Day 6: Calligraphy on a Wreath: Another day, another wreath. I'm very, very excited because today's project is quite unique as we will combine two beautiful mediums for today's art, watercolor and calligraphy. Before we begin, here are the supplies that we need for the class. For the colors we will be using. Quinacridone, burnt orange, Petersburg occur, maroon, yellow ocher, green, Ernst Van **** brown and sepia. For the brushes. And Ben, we will be using the silver black velvet size 86 into silver black velvet liner brush in size one. Silver sulfate mono liner brush in size 20 over 0. Silver silk, A2A2 over crescent brush in size three over eight. And for the brush pen, we will be using the Tombow Fudenosuke, a hard tip brush pen to paper. I'll be using the Netscape, but little watercolor paper in 300 GSM, A4 size, 100% cotton. As usual, we will begin by creating our guide using a pencil. The second step is to erase the guy that we have created. But of course we will still leave a little of it for the first element of our wreath, we're going to add our main rules using a milk mixture of quinacridone, burnt orange for this base layer and for the brush, I'm using a size eight round brush. Remember not to make the base layer of your rose a perfect circle. Add curves and edges so it will look more natural. While waiting for our base layer to dry. We will do our second flower forest. This one is a simple five petaled flower, similar to a cherry blossom. For this, we will use Petersburg occur in milk mixture for our base layer. So we are just doing two stroke leaves for the petals. So this is similar to the two stroke leaves that we have studied. While our petals are still in cold state, we will add butter mixture of Petersburg occur in-between each petals to add depth to our painting. We will take advantage of the cold state of our battles and add the yellow color using a small brush. The core is just small thin stroke circling around the center of our flower. While we're here, let's also add some leaves. I'll be using a milk mixture of green earth for this one. So what we'll do is add some thin lines beside our leaves. So we can combine one stroke leave or to stoke leaves if you like. Let's now add some fillers for this. I'll be using a size six round brush and maroon indifferent water and color mixture. You can combine tea, milk and water on the petals to add some nice sheets. As you can see, you only need to do some small downstrokes when doing this type of filler. For the policing, you can refer to a finished painting under project resources section, so you can be guided. Now is the perfect time to add details on arose as its base layer is dry already. I use water mixture of quinacridone, burnt orange, and for the brushes, I am using size to N6. Alternately. We will do C strokes alternately until we reach the edge of our base layer. For the core, we will be using a small brush, but as we go out of the center, we will switch to a bigger brush, which is size six. Of course, as we go out of the center, we will also do bigger C strokes. Don't forget to add some thin lines in-between your C strokes to represent some petals. After doing the rules, I'll proceed to the white flower. It's also dry now, so I'll be adding some extra details now using sepia and a size two round brush, I'm adding some dots in the middle part of our flower. I'll also be adding some extra details on the petals. So using a mixture of Petersburg ocher, I'll add some thin lines on the petals at texture on our flower. To make our composition look full imbalance, you will add another white flower in the right side. But this time we'll do it inside view. Create four petals on top and one flat that all below using a size eight brush. While the paper is still wet, we will add some dots of yellow ocher on the center of it. Let it bleed a little. The next step is to add the more concentrated mixture of Petersburg occur in between the petals. This will separate the petals from each other. Let's wait for the whole flower to dry. So for now, I'll be adding some leaves in milk mixture using greenery. I'll also be adding some filters. So same procedure, I'll be using size six round brush and maroon, indifferent water in color mixture. You can combine tea, milk and butter on the petals and add some nice shades. As you can see, you only need to do some small downstrokes when doing this type of filler. To complete the main subjects of our youth will be adding tomorrow says the base layer with the milk mixture of quinacridone, burnt orange, then make the shape of the rows edgy and curvy. At the same time. We will place our third rows and the opposite side. Same color will be used, which is quinacridone, burnt orange. We will let our base layers dry first before adding some details. While waiting, let's raise, add some leaves on RV. Debase leaves. I'm using a size six round brush and a milk mixture of greenery at the little thin lines every now and then to add interest on your teeth. It's now time to add another set of filler is this time we will make steam extra, Petersburg, ocher and quinacridone, burnt orange. This is just a secondary filter. That's why it's very light. I added this to give an effect that there are details on the back part of our wreath will do the same stroke for the fillers, just downward strokes, you sings. Size six round brush. For this part, we will load our brush with sepia and add details on our white flower. This is the same as the ones that we did on our first white flower. Just dots of sepia all over the core. Now it's time to add the core of our theories. We will use a monogram liner brush for this. And they are just small lines around the Silk Road. Use seeing what the mixture of Sofia. For the core of our leg fillers, we will be using milk mixture of Serbia and monogram liner brush. Since the base of a rose is already dry, it's now the perfect time to add the details. We will use a butter mixture of quinacridone, burnt orange, and for the brushes, we will use size to N6 alternately. On this part, we will apply the wet on dry technique that we have studied. In creating the details. We will apply the thin and thick strokes that we have learned from our past lecture. We will do the C strokes alternately until we reach the edge of our base layer. For the core, we will be using a small brush, but as we go out of the center, we will switch to a size six brush and make bigger C strokes. Time to add the mean leaves for this section. In here, I'll use a mixture of Van **** brown and green earth. We will add different sizes of leaves all over the wreath. For this, I'll be using a size eight round brush. As you notice here, even if I'm using the same big brush, I can slow create small leaves. And that's the beauty of high-quality brush like the Black Velvet. It has a very pointed tip. That's why it can create tiny strokes. And at the same time it has big belly that can create big strokes. Time to complete the leaves for it. I'm switching again to a liner brush and add more wild branches using Theme mixture of green earth. Our wreath is almost complete, but as I look at it from a distance, I personally feel like there's no color popping out of it. So I decided to add another set of filler. This time, we will be adding some yellow circles all over a wreath using a yellow ocher and an oval crescent brush. Let's connect the yellow fillers. Did the wreath using a concentrated mixture of green earth. As my last detail, I got here my size two round brush and using a concentrated mixture of green earth that makes food Van **** brown, we will be adding some small leaves all over ODE. Add this on areas that needs more dark tones. You can also make some thin lines around it to add more beauty. We're now going to add the unique part of this re, uh, calligraphy. So if it is your first time to do a calligraphy, all you need to do is add pressure on every down-stroke and less pressure on upstrokes. For this, I'll be using the Tombow Fudenosuke Brush and heart dip. I'll be writing the word memories, but you can choose any word that you like. Let's begin by creating a connection between arteries and our width. We will create the soft curvy line, then start doing our first letter after. As you Andrew word, extend the last stroke and connect it to your read softly. If your word is not centered, That's totally fine. It really doesn't have to be centered. On our next step. We will be adding some transition from our words are read, so we will be adding some leaves and further on this offline that we have created earlier. For this, I am using milk mixture of green earth and a size six round brush. Aside from leaves, Let's also add some small fillers using the color maroon. These are just minor fillers, so you don't really have to add a lot of details on it. And we are finally done. I'm happy that you've joined me on today's project and I'm very excited to see your work, so please upload it on the class project section. Thank you and see you tomorrow for our next class. 17. Day 7: Blue and White Roses: We have finally come to the last day overeat series. I know that seven days is surely not enough to master this medium, but I'm confident that through the lessons that you've watched and the practice that we have made, you can soon start creating your own art piece. For our last project, we are going to paint this beautiful wreath consisting of blue and white grosses. For this lesson, we will refresh ourselves with all the techniques that we have learned from the class. From applying the wet on wet technique, wet on dry technique, and a lot of brush markings and different color values. Before we begin here, the supplies that we need for the class, for colors we will be needing in the goal. Petersburg occur. Green, earth, Van **** brown and undersea green. For the brushes, I'll be using silver black velvet, size 862, silver silk, 88 over crescent brush in size three over eight. Silver black velvet liner brush in size one. Silver silk mono liner brush in size 20 over 0. For paper, I'll be using the NAEP Skype, a little watercolor paper, 300 GSM, A4 size in 100% cotton. We will begin our composition by creating our guide. So I have here my circle or guide. And by using a pencil, I will draw circle. And then after drawing this, I will erase it using my kneaded eraser just so it won't be very visible later on when I paint over it. Now it's time to paint our subjects. I have here indigo from Magellan, Mission Gold, and I will mix it with a little bit of water to paint the base layer of our OSS. So let's get a piece of paper and tested. As you can see, it's a little bit darker compared to the theme mixture. So I'll be adding a little bit of water. And as you can see, this is the perfect shade for the base layer of a rose. Now let's paint the base layer. Remember that the base layer of the Roses should not meet perfect circle. Leave a little bit of edge and curviness on your base layer so that it will look natural. Let's now paint the second rows. So again, we will be painting the base layer using a theme mixture of our indigo from Netscape Elektra. As you can see, I'm leaving edges on the base layer, which will make it look more natural. For our third rows, we will be using the mixture of Petersburg ocher for the base layer. This is the shade of petersburg Oh, query that we will be using. As you can see, it's a lie. So I am using the same brush as what they use earlier. Our third rows will be placed beside our first row. So as you can see, I'm still adding edges on the base layer of this rules. For this one it is okay if you will not create a full rows, we will give an illusion that the third row's is behind our first row. So for the fourth subject, we will be placing it on the upper left side of our composition, and we'll still be using Petersburg. While creating your composition. Keep in mind that the size of your rules should be controlled. This I should not be too big, and it also should not be too small for your composition. So for our last subject, we're going to paint a rose bud and we'll place it beside our first blue rows so we will apply everything that we have learned when it comes to painting a rose buds. So again, we'll use a very light mixture of Petersburg old gray. Now after that we are now going to apply the leaves. For this one. I got very light mixture of green earth and I mixed it with Van **** brown. Since this is just a base layer, you can place it on all parts of your wreath. Just make sure that the leaves that you're creating are big and the color is in the mixture. You can refer to the project resources section of this class. So it will be easier for you to visualize the finished product over painting. Keep on painting the right side and then after that, you can jump on the left side. We are almost done with the right side, and now we are going to proceed to the left side. So I'll start here on the first White Rose, going up to the second White Rose. It will be nice if you will add random thin strokes on the sides of your leaves to add a little bit of detail. You can also leave some spaces between each leaves since we will be painting over it later anyway. As you can see, we are now closing the wreath. And by this time, you can already see the base layer of fern whole composition. You can add some more leaves and the areas that you think looks empty. This is where your creative instinct comes in. Don't be afraid to experiment, especially on the base layer where everything will be just a background later on. Now that our base leaves are dry already, Let's go and paint the second layer. For this one, we will be painting smaller leaves using a milk mixture of green earth. I'll be using size two round brush, and we'll add a little bit of these leaves on each of our roses. Even though we're painting the second layer already, it is better not to use a very concentrated mixture of color so that it won't overpower our subject later on when we finally see the bigger picture or the whole picture of our object, we can add the darker shade of color for my leaves and add something that will complement our whole composition. We are now here on one of the major parts. We will now add the phrase details of our roses. I got here and butter mixture of indigo. And I know it seems a little bit dark, but later on when this layer dries up already, the color will slightly soften. For the details of a rose. We will create small c strokes as we have studied earlier. And just a reminder, you can only add details on your rows once the base layer is already dry so that we can say our artwork from creating a blob. Keep on adding C strokes until you reach the last part of your dose. Also, you can mix the C strokes with thin lines to add a little bit of detail on your painting. I'll do the same procedure for this rose. And as you can see, I'm creating small c strokes for the core of my rose. And I'm softening the edge of the last few strokes using a brush with clean water. So as I go out of the core, my strokes are getting bigger and I'm combining thin strokes with my C strokes to create a little bit of detail on my rules. We're almost done on this part. So I hope you were able to follow along. Now, let's go to our White Rose. We will do the same step. But for this part, you need to make sure that you have a very concentrated shape of Petersburg occur because this is a light color and it requires a very concentrated mixture for it to be visible. So don't be afraid to add details on your rows. You will not create a blog instantly. And it's okay if you create a blog because there's always a solution. You can always add another layer of color later on when it's already dry. If you feel like you have created a blob, so don't be afraid. Now we are on our fourth rows. So using another concentrated mixture of Petersburg ocher, we are adding C strokes around our core and we're softening the last few strokes to create an illusion that it is blending. So I'm combining random, thin and thick strokes for this one. Time to add details on our rose bud. So this is something that he have to be a little bit careful because we have created different base layers for our rose buds. So you have to see where you should put the layers of darker shades so that it will look like a thought. That ball, if you feel like you're lost. You can always refer to the lesson that we have studied before. Alright, let's go to the next part of this composition. For this layer, we are now going to add another layer for a row, says, as you can see. The first layer that we have created, a lady dries up and it was a little bit light already. Now I'm adding another layer of butter mixture for this rose. And same thing applies. I will be using C strokes to add the layers of our rows. But you can also do this step if you have accidentally created a blog on your first rose. This step is optional if your first layer of detail is already strong and you think that it's already nice, then you can skip this part and move over to the next part of our composition. We are now going to add the main leaves for this one. I'll be mixing Van **** brown with undersea green. This mixture is a little bit brownie, so I'll be adding more green to it. Now using size eight round brush, I'll be adding the main leaves of our composition. When adding the main leaves, make sure to add it first on the subjects. You should also remember to leave a little bit of space so that you can still see the base leads, as well as the other fillers that we will add later on. Through this, we can maintain a well-balanced composition already that is focused on the subject rather than the leaves. If you feel like you don't know where to add your leaves, just remember to add it near the subject. Leave a little bit of space and let the base leaves me sin as well. As you can see here. I'm adding some dots and some thin lines on my composition. This will give an illusion that there are some small leaves, are big leaves that are folded and cannot be seen in full. It's also nice if you'll do the same on your composition. Time to add those small green branches. You seeing green earth mix with a little bit of undersea green, we will be creating the green branches that will add a lot of details on our composition. I am using a liner brush in size one for this. Also, just a reminder, do not be afraid to play with your strokes added on the areas that you think are empty. And you can also add it on the areas that you think are still not covered with the main leaves. We are almost done for the last few steps, we will be adding the voters. For the first pillar, we will add the big leaves in lighter tones to cover the areas with empty space. We chose a milk mixture, shades of colors so that the composition will still be focused on the flowers. I know that it takes a good idea to know when to add the right tone of color, but with proper practice, you'll get used to it and develop an eye for a well-balanced three. After adding the leaves, we will change our brush into an oval crescent one. We will be adding small fillers using butter mixture of indigo. Using this step, we will spread the beauty of blue shade on our wreath, and it will really add a lot of personality to our whole composition. I am adding the fillers by combining the flat stroke and the side stroke of the oval crescent brush. This brush is incised three over eight. And if you don't have an older cousin brush, you can actually use your round brush and just mimic the shape of the oval crescent brush. We are switching our brush to Amanda liner brush in size 20 over 0. On this step, we will connect the floral fillers that we have created to our main wreath. We will use the undersea green for a desk one. Just keep on connecting the lines. And you can also use this step to add some more fillers and some more random thin and thick strokes on your creation. We are finally done. I'm so happy that you're able to complete all the lessons and I'm excited to see your projects, so please upload it on the class project section of our class. I'll see you on our last video. 18. Final Thoughts: We have finally come to the end of our class. I'm very happy that you're able to finish all the lectures, and I appreciate your effort in completing all our projects. I know that watercolor can be difficult at times and require a lot of patience and practice to be acquainted with. I hope that it don't give up on your journey easily and give yourself more chances to try instead, whatever the result of your class projects, maybe I want to see it. I can give honest feedback and guide you in a more personal way. You can upload your projects on the first project section of our class. I also look forward to knowing the feedback about this class. What are the things that you like and what are the areas that I can improve on. You may write your thoughts and the review section just below this video, your journey Shirley doesn't end here. If you want to learn more about floral watercolor, have more classes available here on Skillshare that I'm sure will greatly help you. Roses and vintage tones. Earning painting into habits. Anything dried flowers in the seven day challenge, floral painting for beginners. Creative ways to paint white in watercolor. I'm thankful and honored to have you in my class, and I'm so excited to see you in the next one. Bye. 19. BONUS Day 8: Ikebana: Hello and welcome back. So I know you guys are excited to get some bonus lecture from this class. I'm so happy that today I'm going to teach you how to paint this Ikebana-inspired half-wreath. So if you're not familiar, Ikebana is a Japanese floral arrangement. For this class, we are going to use these materials, for colors we have caput mortuum, mocha, Petersburg Ochre, yellow ochre, quinacridone permanent magenta, quinacridone burnt orange, raw umber, olive green, Van **** brown, and sepia. For the brushes, I'll be using round brush in sizes 2, 6, and 8, liner brush in Size 1, detail brush in size 20/0, oval wash brush in size 3/4, oval crescent brush in size 3/8. Then for the paper, I'll be using the Fabriano Artistico 100% cotton paper. Back to our usual theme. Create a circle guide for your wreath. Having a guide like this will still be useful even if we're just creating a half wreath. For our first element, we are going to paint the subject on the center, which is a rose. I use a tea mixture of caput mortuum, for this layer. Remember not to make the base of your rose a perfect circle. Add curves and edges so it will look more natural. For the next flower, we will paint an orange ranunculus. To create this, we will make a base layer again, and I'm using quinacridone burnt orange, mixed with Van **** brown. In creating the base of ranunculus, we will just do the same steps as the one for our roses. For our third flower, we will paint peony, but instead of making a full-blown flower, we will make it appear as if it's hiding behind a rose. Using an oval wash brush, create four petals by applying the flat stroke. We will let this layer dry first before adding another layer. For now, let's do another subject first. This time we will paint ranunculus again. We will use mocha for the color and we will place it on top of our first ranunculus. For reference, you can check our project resource section so you would know where to place the elements for this main thing. For our next element, we will paint some of the fillers on the side. For the first floral filler, we will create some sweet peas in pink shade. For this, I'm using quinacridone permanent magenta. In painting a sweet pea, all you need to do is drag your brush and create some teardrop shape. You can extend the size of the shape depending on what side of the petal are you trying to create. There's no right or wrong here. All you need is a good imagination. It is also best if you will use milk and tea mixture for the petals. Spread the sweet pea until you've covered about three-fourths of the wreath. For the next element, we will add some baby ranunculus on the right side of our wreath. Use tea mixture of yellow ochre for this one. Let's make two of these fillers. Then for our next step, we will connect the fillers to our main wreath. We will do this by getting a concentrated mixture of olive green and using a small brush, we will create some curved lines. Let the colors bleed a little so there will be nice leading effect on our wreath. Connect and connect everything until you've finished. I also added some thin lines and extra detail on our filler. You can also do the same. For the next detail, we will add more floral fillers to our wreath. This time, I'll use the quinacridone permanent magenta, and some dots on our wreath. Use different water and color ratio for this. Again, I'm encouraging you to check our finished painting on the project resources section so you will have an idea where to place the fillers. Time to add some details on our sweet pea. So using a milk mixture of quinacridone permanent magenta, add some strokes on one side of our petals. This will create a shadow effect on our filler. It's time to add some leaves. We will spread our leaves all over our wreath. For this, we will combine olive green and yellow ochre with a little bit of Van **** brown. For the base layer, we will use tea mixture and then we will add another layer with milk mixture as you can see. I will change my brush to a liner brush and get some olive green in milk mixture, and I will add random thin and thick strokes with dots, which will look like wild branches all over our wreath. Add more leaves again and use different shapes and sizes. Be creative and carefree. You can also combine pure olive green or olive green with Van **** brown for some other leaves. All these shapes look complimenting to our composition, so don't be afraid. For our next filler, let's add some green dots on sweet pea. You can use a round brush or an oval crescent brush for this. I hope you guys are having fun. So for our next part, let's add the branches over pink fillers. I'm using a small brush and a butter mixture of sepia for this. When doing this step, make sure your strokes are edgy and extended beyond the flowers. Since our base layers are dry already, our next step is now to focus on their subjects. We will use size two round brush for the details. In creating the details, we will apply C strokes that we have learned on our past lecture. We will do the C strokes alternately in combination of some thin lines until we reach the edge of our base layer. The next element that we will add a detail on is a rose. In creating the details, we will apply the thin, thick, thin C strokes that we have learned on our past lecture and what we're going to do is apply the C strokes alternately until we reach the edge of a rose. For the core, we will be using small brush, but as we go out of the center, we will switch our brush into size six. Next in line is our enclose. In creating details for our enclose we will create C strokes also. However, for this, the distance of each stroke is closer to each other compared to the ones that we do for the rose. Also for this specific flower, I placed the core on top of our base, so on the upper part of our base to create a dimension that our flower is inside view. We will do the same strokes for our pink run and colors. Again apply the thin, thick, thin, and C strokes that we have learned on our past lecture. For our last main subject, we will paint the details for our half peony. Get more concentrated mixture of Petersburg ocher and load it on your oval wash brush. Create flat strokes of about five to six pieces and add some flat strokes on the upper part, inside part as well. We will let this layer dry so for now I'm adding some leaves. Step back and look at the areas that we need to add more detail on. Add more leaves and wild branches on those empty areas. For the next detail, I'm now adding the core of our peony. I got a butter mixture of yellow ocher and I'm adding thin lines on the core. While the core is still cold, get a butter mixture of raw umber and add another layer of thin lines on our peony. For our final detail, we will add some depth to our peony by getting a butter mixture of Petersburg ocher and having some strokes of it on each petal. And that is it for this half wreath inspired by an Ikebana arrangement. I hope you guys enjoy this wreath arrangement and I am so excited to see your projects, so I hope you can upload it on our project section. I'll see you on our next project.