Concertina Booklet Made Easy | Holly Tomas Design | Skillshare
Drawer
Search

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Welcome To The Class

      1:46

    • 2.

      Materials

      2:21

    • 3.

      Assembling Your Concertina Booklet

      9:02

    • 4.

      Colour Swatching Deeper Values

      3:36

    • 5.

      Colour Swatching Lighter Values

      1:54

    • 6.

      Practising Pinnate & Rounded Leaves

      8:44

    • 7.

      Practising Using The Shape Of Your Brush

      13:45

    • 8.

      Practising pretty florals

      7:54

    • 9.

      Our Booklet: Soft Sap Green Pinnate Leaves

      5:51

    • 10.

      Our Booklet: Contrasting, Darker Leaves

      5:36

    • 11.

      Our Booklet: Fun Dip Pen & Water Technique

      8:18

    • 12.

      Our Booklet: Using The Shape Of Your Brush

      4:00

    • 13.

      Our Booklet: Pretty Rose & Lilac Blossoms

      15:40

    • 14.

      Our Booklet: Weaving Dip Pen Detailing

      9:19

    • 15.

      Flip Side: Rose, Mulberry & Lilac Florals

      20:03

    • 16.

      Flip Side: Creating Soft Leaves

      18:56

    • 17.

      Finishing Touches: Adding Ribbon

      3:35

    • 18.

      Thank You For Joining Me! :O)

      2:09

    • 19.

      Ruby Doodles/Concertina Class Projects

      1:29

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

190

Students

9

Projects

About This Class

Welcome back or a Hey There, if I don't already know you - nice to have you here! 

We're back to working with watercolour and Brusho for this easy concertina booklet class. You don't need to have Brusho powder pigment to complete this class - I will be demonstrating how you can do this purely with watercolour :O)

If you're like me and don't enjoy measuring or overly complex preparations, I've made this headache-free! as we'll be using just one sheet of watercolour paper, cut in two lengthways, and scored into the pages for a double sided concertina 'art story' booklet. 

We'll be using a limited palette of just 3 greens, Crimson and Violet.... and only 1 brush! Using different values of paint, we'll be creating contrast and depth.... and enjoying some delicate, through to lusciously rich colours.

  • On Side 1, we'll be adding pretty blossoms to a backdrop of lush green leaves
  • On Side 2, creating a gorgeous 'garden' of bright florals.

Finally, folding it together, and using our little fold-over closure tab, with ribbon or string, to create a really gorgeous little gift.... made with love and fun :O)

MATERIALS:

Hanhnemühle 'Harmony' hot press paper pad

Sap Green (I used Daniel Smith Watercolour)

Olive Green (Brusho or watercolour) *please see link below for more details

Moss Green (Brusho or watercolour)

Crimson (I used Brusho - but you could use watercolour - and you could use pink if you don't have Crimson)

Violet (Again, I used Brusho, but you could use Watercolour - and any hue of purple if you don't have Violet)

Brush: Size 8 Caran D'ache pointed round brush

Dip pen (or you could use a Pigma Micron pen for finishing touches)

A score board (not essential - you could use my suggestions in the video to score the paper)

Paper trimmer or craft knife

*Brusho is a pigment powder developed by Colourcraft in Sheffield, England. It is often used in its powder form with a water spritzer to create wonderful textures, but I use it both as a watered-down 'ink/watercolour' and in its powder form for flower centres. Here's the link to Colourcraft, where you can find details on Brusho products: https://www.colourcraftltd.com/brusho

Original and Composed by @jazztheglass61   

For further info:

Instagram

Bandcamp

Tracks on this class: April, Shine, Get There, Paradise Waves, Steppin' and Core.

*I've also put more information, including one of my favourite tracks of JtG's, on my Profile page. (Scroll down to the music section :O)

Meet Your Teacher

Teacher Profile Image

Holly Tomas Design

Design Watercolours Printing Mixed media

Teacher

Hello :O) I am so happy to have you here!

I'm Holly and I'm an art teacher/sharer both on Skillshare & Youtube: https://www.youtube.com/@hollytomasdesign I paint flowers and leaves for the most part, particularly wildflowers, as I am surrounded by so much inspiration, living, as I do, in rural Scotland.

I love exploring new techniques, and I'm very keen on finding brush strokes and media which make painting just that little bit less challenging for us, whilst gently broadening our knowledge.... I always say 'easy but effective' is the way forward! My classes are mostly watercolour, but I also delve into mixed media & leaf printing.

I have a humble little mission statement :0) .... 3 facets which are really important to me, when I am considering class conten... See full profile

Level: All Levels

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Welcome To The Class: Hello and a huge welcome back. If you know me. If you don't get lovely to have you join us, we're going to be doing a little concertina book today. I have so enjoyed developing this. I did do a larger one that Christmas and a major presence for both my son or my daughter this way. And this is a pre-made one, which is something you may want to go for. I found it really lovely to do, but it took a long time. So I wanted to develop something to solid or more manageable, sinful. So I designed an idea of having one botanical theme and one floral theme. So we're going to start off by just practicing which leaves we may want to include which florals. And like I say, I couldn't stop once I got going at Don so many law practice runs and I have a lot of concertina books ready and waiting to go out to friends and family. And then we will end up, once we, Constantine ended up together with this little bundle of love. I absolutely adore these. We're going to keep it very simple. You can do a more complex fastening with buttons, but I just wanted to use a velvet ribbon and just have it very manageable and easy to do. So let's get on with the class. 2. Materials: So let's run through in the materials that I used for this project. I started with nanomolar harmony paper. This is hot pressed. And the reason why I chose it was it seemed really good both sides of the painting and also increased very well. So just have a play through the papers that you have and see what surgery best. As for brushes, I actually only use this one brush throughout and that's a size eight carrying dash. And I only use this flat brush for the swap chain. I also used my depend. But if you don't have a dip pen, you could use a bamboo pen or you could go in afterwards once it's fully dry with Pigma Micron. The paints such as I wanted three different greens. Now the first two here are brushes, but they don't need to be brochure. You can just use any green. Whether that's you deciding on watercolor or gouache. That's olive green. I have mosque green. And I did use watercolor, which is Daniel Smith's sap green here. For the flow rules, only use two colors. And again, just using a crimson and a violet out of the selection ARE already have neck can be watercolor, old, down go ashes. Well, I use the scoring board for the creases on the concertina book. I've not used one of these before. I just bought it for the project, but it's really handy and quite an expensive. So if you wanted to do more concertina books or cards, things like that, then this might be well worth getting hold of. But if you don't have a scoring board, could just use a ruler and actually something like a bamboo pen. Now be demonstrating that just to make a little groove. And then finally, only need with finishing touches are some beautiful ribbons. 3. Assembling Your Concertina Booklet: So I have my animal, the harmony unnecessary, 21 by 29 centimeters or 8.37 inches. And that's what I'm going to work with. And bridge style result two inches. So first of all, what I'm going to do the quizzes, so bringing binder, I'm going to firm up VHS edges. Neatness of fighters, container fees, the lectures. If you don't have one of these, whiskers, contraptions recognizes a metal ruler and craft life. Just want to neaten that. So now what we need is to separate this into two, because we're going to join them up to Canada. And just to be contrarian would do this with centimeters. So that's 21. Swell want 10.5 to be fairly accurately. Now if you're doing it the old fashion way, you measure you to carriers. And using a metal ruler, you can use your craft knife or we could do a pencil mark downs. And then with this is I'm just going to calcium. So to start two parts here, what you're going to do then is just because this is the way that my papers work towards half goes off size of it. I'm going to mark an inch from this side here. And again, you can use whatever you have to hand to mark this value is two. I didn't have one of these little things for psi found useful is a bamboo and I, sorry, probably pan. And scores as well. Might have to go over it a few times or something like this stylus. And again, press down quite hard with these and you'll find that they work pretty well. So, but I'll leave details about this. And you may already have one. And this was very inexpensive and just a small one because I I'm really only going to be using it for containable little projects. And I'm going to do the deal, the page the same circuits, a one-inch mark. Now one of these is going to be used to join the pages together. And neither is going to be of fold-over at the end. Look similar to this once it's all together. So I'm going to decide which way this likes to fold. To me. It looks better that way. So I'm going to there's no right or wrong way. This is the underside of the paper here. It doesn't really matter that is both sides of this paper actually, I think, particularly to paint on. So unclicked state means whatever we find the best glue for you. And run. Stay calm and put that onto there so it doesn't stick. Then because of school. I can also see where to join it neatly because I can follow the line score has made. Okay. Not really. And then also might do is decide how wide I want my sections constitute integral. And I think it works out fairly well on this paper to make 3.5 inch schools. So if you're using one of these is push the paper up so you know for sure it's in the corner there. And I'm going to make it a score of 3.5. Server makes sure that square again. And it's quite fiddly actually. And which is a measured my paper, I know that the joint is going to be somewhere where I score is going to be on the joint. So I'm hoping that this will actually fold over. Okay. Pretty sure it will. At this point, I have to say I had to practice a lot with this paper and just get my measurements right. If you find my headache like I did, you can just start with this side, but okay. I've got two pieces of paper together. I want them this with whatever make so that you have a little folder here. And any remnant that you have at the end you could just slice off at is a very easy way to do it to be honest. So you don't have to worry about both the measuring cup compartment corner here. Oops. And we went to 33 quarters. Okay. And that last page, 63, inner coat, 2.5 as well. And it's pretty much there. Well, don't call it my strong point measuring. But now we give and if it's a little IL-2 cares, I like that kind of rustic look. And I really like this. It will definitely happen just from me cutting off the Biblical ring binder excess. So we start to see it forming together. Now as the Constantine a book. This is a practice run and it folds together like this. And then we've got that little flap over the top and some ribbon around it. So let's move on. 4. Colour Swatching Deeper Values: Let's do a little bit of color mixing before we start on project. So I put out a little bit of violent or show and a little bit of crimson. And these are the only two colors that we're going to use apart from greens. And I want to show you the different values that we're going to be using. And if you don't have brush show, just use any old code that you have in a violet or purple shade and crimson. And could be even pink because pink and violet would code nicely together as well. And use a flat brush, mostly for colour mixing and doing a little swatches. Just because I find it easier, just kinda make some nice square. So let's just do the violet to this side and quite a rich UI. And then we'll do the Crimson coming in from the other side. It's a very simple column mixing exercise, but I do it quite a lot because it just allows you to see the kind of spectrum of colors that you can get in between. So this is Cronus, and so what we can do then is just slowly start Crimson to the purple pigment on. And we'll just do that electrons at a time. Start on a little bit more. Start to see is absolutely go to coming through. This is my favorite here, here. So, so gorgeous. And that's just a very simple one that many could do a longer one or a few. Because to be lots of different increments between net's. But that just gives you an idea of how these colors mix and this beautiful mid range between the two. So we'll be using the school, the flow roles. 5. Colour Swatching Lighter Values: So now we're going to use it in a very, very delicate fashion. And this would be for volatile blossoms on the botanical side. Whether you could also do this on the flow side. So what I use there was mainly this water down the crimson. And you get a beautiful, delicate artifact. See how go to status. You can go fully with just the Crimson. Although obviously by now my Walter Scott little bit. Or you could err on the side. And Walter down, that makes a very delicate code too. So you can start to see the range of delicate colors that we can get. And if I add water to this one, peaceful magenta, one of my favorite swatches. And it's kind of a mid, I would save up some mid way between the two colors. So now go to S. So once we've dropped a little bit to either green or brochure in the center, you can start to see these really develop into beautiful corals. 6. Practising Pinnate & Rounded Leaves: Okay, so we have our paint mixed. And if I look back at the one that I did as a template, you have different valued leaves to start with. So when did you start with the sap green? I don't want to do another one here. I've made a few of these because they're so cute. I wanted to give them as precedent to paypal. So gets a tip on your brush and then hold your brush perpendicular to the page. And we're just going to draw the very tip of your brush along. And it can stop and start. It doesn't have to be perfect. I found that incredibly difficult when I started out. I don't know why I just found Stokes very hard. So the other option is to use a dip pen. So I'll show you that as well. So I'm going to decrease. And because we are going to be using the underside of this, I'm just going to scoop up any excess there. But at this stage we're just really looking at how to use your brush to make the shapes. So up to the tip again, just lifting the brush, layer it out, push it down and then lift it up, start lifting it. And then we get to a point. And leaves can vary in direction. So it can go like this, which I always think looks really roughly. The other thing that I found hard with getting the right size, that if I did one side and then I went to the other side and notice that sometimes and these were quite short and nasal bone. And that's okay. Nature isn't perfect. And certainly if you look at a palm leaf, I'll never symmetrical law and perfectly symmetrical. Another way of doing this is to start with a point away from stem. Push the brush down, pull it along, stopped to lift up. When the brushes approaching the stamp, we go. And it gives us a slightly different feel to it. And often, just very the way that I stopped money. So what we'll do now is just do another layer. Actually, before I do that, let's do a leaf with the stem starting with a dip pen. And this is easier to do in some ways. So what you're doing there is just a curve like this or however you want it to be shaped. And then sometimes forgetting quickly, you can actually use the paint that's already there in the stem to Troy town. I have to do that very quickly, especially on hot press paper, which this is. But that's really cool as well. And just finish that. And then we'll go on to lobby leaves. So there's all sorts of ways that you can do leaps. Another way is starting at the top, bringing it in. And we're doing this without a stem of a Soviet just bringing it into an imaginary stem. And to do some paler ones here. So you'll see a reaction. That's actually just water from my prompt. I'm a bit of water in the center. I'm using olive green, darker stem. Can either start from the top down and then go in and failure. And leaves us a cool effect. We're going to use this snare with our blobby leaves. But I wanted to show you how you could do a palm leaf that way if you're not happy making the stoke with your brush, which is, I'll be more difficult. I find we'll struggle with different things, right? Love these, cooperate, and get some clear water, but it's obviously has a bit of green in it now. Now two strokes like that, petal. And again, we'll be using this stroke for the petals, blossoms that we do. And do that in or going out over. You could just use a bulb shape. It's up to an exact science. So you do it round, you can wiggle your brush around. It's entirely up to you to do any shape you like. And the great thing about the scarce, similar to this, we have that lovely explosion of green, the base of the leaf. So I'm just going to make sure there's plenty water in there. And then I'm scooping up some of that rich dark green. And whichever grain you have chosen. And he could use the darkest, we could use the median norm, which for me is my most green. Then drawing the dip pen, I'm just going to catch the pace that these leaves. I'll do this. It's official. Absolutely two things. You can then tap in more pigment. Should you wish to spy, pressing down on the tip pen and it releases a little more paint. Or you can go in if you don't have a deadpan. Get some of your darker pigment and just drop in a little bit of the base. You don't get quite the same dramatic experiences with the dip pen, but it's really gorgeous and there's all sorts of shapes. You continue with this. You could do circular one like this. No, WE dip pen. And you can have this kind of waving around likeness, nice wavy line. Just make some really cute little stem. So that's the rowing leaves or the polymer. So the blobby shapes. And let's move on and see what else we could do. 7. Practising Using The Shape Of Your Brush: So what I want to show you now is a way of easing the shape of your brush. And depending on the approach that you have, will be different. And I'm going to use the screen here. Now again, if you're not confident doing lines with the tip of your brush, you can start off again with a dip pen. You could also use a cocktail stick over the blunt end of a skewer. What we're doing then is making leaves just by pushing down, but lots of paint on my right sika. Pushing down with your brush to whatever length of leaf you want. This can be tiny, leaf, can be longer. If you push, push your brush, write down. You can vary the direction long-term. It can also just go in with pure color. And then dependable little bit of either Bershka, more pigment. The base and making the leaves different, actually slightly different from the other. And again, just adds to the overall Hegel do people DI, complete data set, faculty pickled PayPal and seen some. Let me go. And if you are going to do that with the approach to sketching some olive green there. It can come down this way. Also I find useful with lines is to actually flatten my brush. So as I'm picking up the paint, if I'm kinda flattening that, what you doing then if you turning it sideways, is you get a nice crisp line there. So I use it that white, quite small. So I'm turning it sits flat side, turning it on its side and using that for the stem. Just so that I discovered for myself, which seem to make LOT easier for me. So you can also bring the leaves in. So just as we did with the poems, you could start with the tip on the outside. And what that does is it changes the shape of the leaves. So they're more pointed top. So have a play around with directions and see what you like best. And. I want to do now is to show you which leaves we may use for the flower side of this. So on the reverse side. And what I may use this, this mosque green for that. It's a very earthy green and paint very realistic for one that's not mixed static, it's a little light. So I'm going to do a very quick flower just to make this little purple I have here. So this is going to be Cottage garden or however you want to think of it on the flip side. And we're going to drop them off screen and center. Such a lovely color that's very skinny neck. Now you have a choice here. You can utilize the fact that it's still wet and you can go in and just get that little tip of your stem touching the flower. And then we're doing the two Sweep leaf as we did with these. So it's the same shape. And again, you can go in there and use one of your dark hues. And just put that in the base of the leaf. You could also remember to use your brush shape and do your own little leaves like this coming out from here. And you can do small belongs by just going down a little bit. Hey brush then not pushing it all the way. And that's going to bleed into that layer really like that effect. So let's try a few more of those. You can have a nice long stoke comes right down to you to stroked leaves. And the other thing, good eye system, a little techniques that I've started doing that and where it came from is I laid down until stamp. Then I have a little stem coming up. It just gets me going and get some pigment on my brush. And we'll talk to you. There is. I'm turning my brush on its side. So I'm using the tip just to get that little area there and then actually pulling it out adult, it's takes a bit of practice, but it really brings out to the irregular shaped leaf, which I'm really do love. It looks very realistic. So again, I'm just starts with a point and then I'm pressing down on the side of the bush and drawing it's held to a point. And each one is different. And could go in and that'll mark the base of this work can go in and just shake cabinet. Look at how I like. I really loved the shape of this. And you can do small ones and just pull out a stem. And I actually hold my brush very download the base when I'm doing this, just my preference. And again, you can do that backwards as well. So starting with the tip, pushing your brush down sideways so that you've got the whole broad side of the brush there and then bring it, bringing attention to the bags. So let's try that again. Tip here. I'm not going to go this way. We're using the broad side of the brush. So satisfying to do, and it covers a large area as well, a little like these. So if you want to just to have and the sleeves without the poems, you could do those in a very pale mossy color or sap green, and then do another one going over the top. The last thing that I use to make leaves his motet pen this around again and just use this area here. And you can see how even without thinking about it, Let's starts to create a nice story in itself. So these are my little pretty ones I'd like to throw in an S to U shapes that I tend to use. And I do tend to use the mosque green and the family will go down because I don't want these to take over the peaks. I usually like to weave them in behind. So if I wanted to warn here, I could start off just bringing out my pen, curving it around. I want it to go behind this leaf. Whoops, pens plaintiff. And I just draw it out as far as are like little loop. I need to bring off little stems if you like. Now this happen there is, my pen is not very happy, but I'm going to carry on because these things do occur. And if it was me and I was doing this myself, I would probably turn that into a leaf. I can do that here. Actually looks nice like that. So I'm going to leave. So I'm going to just rinse my pen and the water and dry off the excess. Thanks, something that is perhaps stuck in the nape. Probably needs a new nib as well. And then I'm going to start to fuse these kind of pulled out the little loophole three, the top, and just pull them out analytical way or you can really start to weave them through your piece. I think they're really pretty. And they can look like seed heads or they can look like leaves. Another one I like to do is stay on over here. So it looks parts of that piece. I like to do a kind of go straight up. So it can be like this little loop on the top. And the Hadza still leaps down both sides. And this I feel is about the right consistency of paint because I really don't want it to be too dark. Start to dominate the pace. When a dog. And we want it to look closely and as if everything is congruent. So if I wanted to do another one, I could leave this one behind here. Going over what paint, even if it's still damp, it can flare. So be careful unless you want that kind of merging in which is a lovely effect herself. Wait for everything to dry thoroughly before you go in with the dip pen. It's much more relaxing that way as well because you're not worrying about smudging anything. It just grinds go up to this. I suggest that goes behind the wall to grow to this because it's still wet. And I'll do the same here. So you can start to see how it brings it together and it really does kind of add movement. So if you've got something quite solid going this way, you could always just go without join. Louise, just bring down a line like this. And you can either do your little stems out with the loop on top. We can just go from the base. 8. Practising pretty florals: So let's do some floral shapes for flip side. Once I start with, is these of all merged in a bit now, but this was primarily the chromosome and this was the violent. And what I do is I mix up some crimson here as well, mix up a very variable to down, crimson. Go to spank, and then I touch of violet. And what we're going to do is do deeper version of that as well. So we have the delicate with the rich. And the way that I formed my petals is I do various things. The easiest ways to do like a piece of pie. So if we imagine that the political center, the two lines out like a triangle and then round that. So for Latin as quickly as you can see, not left with the lines. And that's pretty in itself, isn't it? You can then just go in and just make these a little more rounded to Jewish. So that's fairly simple way of doing it, just thinking of them as rounded triangles. The way that I have often do my flowers as I start with the tip of my brush in the center. And then a move that base round. And I do a little tickle and you get like a scalloped edge. So it's never really rounded and you get different edges. So really make some lovely pink pigs, that beautiful doneness way and incarnations. The other way is to start with the base of your brush in the center and move your brush round bowl you need to do here is not think about this here. Just keep your focus on the middle pair base of your brush, making sure it's in the middle. Let's do another one of the so-called the base here, moving from right to left and then bringing it into the center. Whilst this is all still nice and wet. What we'll do then is dip into mosque green portion and gently place that into the center. Let us do it's thing, It's glorious. Not they show you how to do that with watercolor. If you don't have Russia doing more line P1. And I'll just Two quick ones so you can see. So I mean, I use a bit of both the center and then moving side and depends on whether the pages, It's just easier rather than having to shift patrons. Now another way of doing centers very easily is to just use the paint straight from the tube. This is sap green. Just going in with a stamp but it's not wet. And then drop that asset. And that makes a goal just center as well. And if you wanted a more muted Back to, you could use a darker green. Or would you could mix up a green and pink together. And then for the deeper colored ones is the same shape exactly. And what would depending on here is the color mixing, which you will have gone through. Because we can get these gorgeous rich plumbing tones and updating the same. He be brave. It, it is a deep color. But you know how to do this. It's going to be fine. And do my triangle one. And then rounding those edges. With Eysenck don't tend to do the centers, but you can. Here's one I like to do is three petaled flower. And we're just using the same shape as it did with the leaves. Almost just two strokes and then going in and filling it, putting it in the center. A light oneness kind of two, sorry, three little notes like that. And then you can go in with either you dip pen or with your brush. Let me show you dip pen version or may not do this or majors curve to that leaf. And yacc will end up doing mass and it gets a little bleed into the petal. So very similar to the little boy believes that we're doing, can even do a couple of those. The last thing that I might do, spaces is actually utilize the water itself that I have in mind a kind of being a colored at the moment. And I'm going to use just the pure water. Two strokes like that. Flower, so payer. So they have four petals. And then let's go back to the green. Since the water color. And just being really delicate without putting a lot of green in the center at 0. And these next two, these rich balance in the mid range violence really start to kind of comes up, comes alive, snow peaceful. Let's do one that's poking out from this flower. And if I use my screen 79, and you can do the three stroke tuned to a larger one. And that's it really. Those are the only shapes that we're going to be using. Very, very simple. The same kind of technique apart from this is a two stroke Wang. And we can then start to extend the snaffle tied practice on one of these, since I have a few of these made of. 9. Our Booklet: Soft Sap Green Pinnate Leaves: Let's get started on the first layer effects, which is going to be a nice light background layer. And I'm using three different greens. You can choose any greens that you like. You could also make a lovely green adding solid blue to a green or a warmer green with yellow. I'm going for Prussia. Again, it doesn't need to be brushed. Clean water color. And that's some olive green screen over here. And I've got sap green. And I'm going to start with the sap green. Not a nice white background. And he sounds the way. So I'm just going to water that down. We can mix quite a bit up so that you don't need to keep checking back in and mixing more. I think that's about right now you can decide to leave this blank. So any folder, roofer, it's been cleaned, anything. We put a design over the top. I think I'm going to include it in my design. So I'm going to start with these high nato pin eight leaves, which have lots of different leaves coming off from stalk and D. And these could be palms or it could be ash. Ruin. It vantage of homemade constitute a book you said. It is still turn the page around a little bit. Supplemental difficultly using the large CY, moments. I think a handmade one always looks just so much, so much better. Now, what you need to be careful on more right here for now. But if you're painting over the page there and you've got paint underneath, that could be picked up by this side. We want to try and keep that as clear as possible. So it can do is put a layer of kitchen roll underneath to say company spillage. Next ICR case, it may use different brush shape approach to the way wildfire. Spine is really restful today. So I'm going to stop talking now and to speed up film. Hello. Hi. 10. Our Booklet: Contrasting, Darker Leaves: Okay, so we have the first layer down the sap green. And I'm switching over to the olive green nano hip or show this is quite dense color. Anyone's familiar with it? I do like brochure for that. It's, it can be very, very rich. But when it's watered down, a great deal is extremely delicate as well. Sometimes that side, if it's nature isn't brought out. But we will be doing that on the other side with the flowers. Show you, I'm going to move that over here. So I have a bit more spaced out the right tap that don't get too dark. I do love the contrast between the dark and light. So what I like to do is to go across just as we did in our practice rooms that are going over. And the Neith, I might flare a little bit because I'm going over this cost is still a bit down. You could wait for this to dry completely. I think that you should you wish to do that? Again about 10, 20, 30, just to name a few of these down. And you cannot check with that. Took me to come back Craft System. Okay. And stuff. And stuff. Okay. 11. Our Booklet: Fun Dip Pen & Water Technique: So now I'm going to mix up some more screen. Just have plenty of that ready. And remember if you're using brushes, ideally, I never do this. It should be watered down with warm water and it just dissolves more quickly. But I'm just doing it with atropine it spine with cold water. Just need to lateral. So of cops fat green going now and I can start to mix a few of these together. So I've got some of my sap green still going. And let's bring some of this over here. And this is the olive green. I do like that for storks, especially if we're going to do which we are now there's this very delicate little water painted ones. So I think I'll start here and what we're looking for little spaces now. And remember that when you're putting water over all, That's not what I was expecting, but very nice. And just lift that up that Albi from the mosque green pressure because it has little flecks of purple in there that seem to have picked up until August going to go with it cause little accidents like that. I think it's round top of my ports as well. But this is what I like about processes. One thing inside this happen and you embrace them and offer them, freaking out and think, no mistake, trust and breaks. That was I going to have purple leaves here. Really isn't the plan. But what I really like them. So be open to embracing things. You see where it goes, what could go wrong? You've got plenty of paper. Hopefully you can always try another one. So it could either draw these up as we practiced or you can draw down and then do stems. I went to draw down just because of my lips. A little too temperamental number going up to the box with peers for thin pool of water. So I'm going to do a few more of these along the way. That's the olive green. To stroke. Petal shaped leaves. And you can do different sizes. Here. I've done by piece going to do four more. That's some olive green to this one. And the careful if you store it came with wet, leaves it up smartness point. It's going to take away this time. It should be done, might be, you know, to me, that's a pH 4 one is not mostly, they're all different. And I really love that. And this is what adds character and brush is fairly unpredictable. And I could this work. No more time had come for. But I do like I love when Bushehr does that. It's very much a case of people say that you're a collaborate to when you work with watercolor. Because of the nature of watercolor, It's very much like that with brushes. So memorable style you're going for another. And then you can at this point start to gauge how much water you want in each little leaf. So you can add a bit more. And if you make sure you hold your paper down, then it's at the bottom of each leaflet. You know, then it's going to really take careful to hold your pen away for me page and kind of put round it just in case of trips. And remember if you don't have quite enough pigment neurons a little mean, just pressing down within their predecessor occupant no packed. So I'll stop talking now and just add in a flame war. Yes. Surprise. Surprise. Our apps are. 12. Our Booklet: Using The Shape Of Your Brush: Just going to add a few of those are shaped leaves now. And good to use the mosque green. Green suppliers, wow. So you can either do a stem with the brush tip pen. And then I like, and I should have started this upside down because I do prefer leaves to start with a tip that the stamp, stamp. So simple to do. To turn this round. Any kind of very rich green, you use actually the actual stick with one color on each. Sometimes very effective. So let's try one with Notepad. Lay down a little bit the stem. Now I do want some spaces to protonate. So I don't want to fill up too much devoted to one here to join us up to that step. And a light little mistakes like that way it gets a little blob of water. All right. Screen. You brushed it the way you get to a point patch. And I prefer this with this brush to be more rounded. So we don't need to do as many as the other leaves here, but we can just start a few long hair. That's enough, really. Just the little black sites and slowly building. So I think we'll move on to futile. 13. Our Booklet: Pretty Rose & Lilac Blossoms: Let's move on to our little blossoms. I'm just reusing some of the kitchen that I used to protect my artwork. I'm going to use. And you can use whatever you have. Again, it doesn't need to be fresher. Compiler to Crimson. And I really loved the relationship between these two colors. Mostly bit of crimson. Pressure gets everywhere. So if it's the first time using it really quick, because even the tiniest specks when they come into contact with water, this an explosion of color. So just wipe your fingers, make sure that you've got nothing on a faint listener pigment left. And just make sure that your surfaces fairly well. So I'm going to do is mix these two together. We're going to be using them anyway for the other side. And with little flower design, I'm going to do so. I'm just going to mix a very, very pale. So you won't have very directed. And a tiny island makes a beautiful pink. I could dusky pink. You could also get this color from adding a tiny touch of green to the pink, probably best, sap green, keep it nice and bright. So we can go in with depending on what you want, a darker pigment or you can go in and almost paint with water and then add pigment to put one here. Keep it nice and loose. Pigment up to the middle. And then add a little bit of that. So that's how to spring. This is a mosque green version. And very gently middle 92 different sized petals to remove a large one. Pixel political bit of turquoise that says how quickly? To lack of turquoise, how quickly Russia gets around. So we are going for that. And hopefully that week that brush show up underneath and create a nice effect. Words, simply dusky, pink. So I'm going from my screen, share again and just very delicately into the middle. Now you cannot really, if you wanted to draw a rope purpose of liquid water into the center just to encourage that person to the rest of the Boston. Okay. I'm going to just start talking and add a few more. What I might do this is kind of just work with these two curves with varying King says we practiced at the beginning. Fundamentals. Hi, class. Thank you. Just to call coterminal next would do double thing here. So I'm just cutting one of those for show me the edge of this boson. And just really lacked that must pure water. And then I'm going to drop in the screen. And it's amazing just painting with water and not really forming the petals or not well with any hue. And it really does suggest a blossom there because we've got this backdrop here of belief. So you can see the outline of the edge here. And the Bushehr bleeds into the petals very gently semicolon. I found that in the past, you know, this, this really, it's very, very delicate process, but it's really effective. You have done the same there. And I can kind of, if I want to encourage a bit more of a center to come up just by going out with my brush into the center, enjoying the sound of it. But it's so, so delicate. But altogether it starts to really pop. Doesn't that make it look like either a tropical cyclone or it could be forest scene blossoms or would a nominees. You see them on us and our spine. It's quite nice just to be worried about composition and to group a few together. Might be just two or three. And you could even copy exactly where to place things in front. And now she just to relax and enjoy the painting process. And with putting tiny amounts, rarely hear of the brochure in the center. Because techno time, There's no hurry. And this is such a relaxing process. And I think really it's just about posing and just looking at it and seeing where you feel. It might just do well with another, with a flower. And now I love this kind of relationship between the crimson and divine light. I also like this brush with this. In particular because it's got a lovely point. But it's Scott, nice kind of body two as well. And it's not too big. So I can kind of be a little bit more precise. So just toss it in music. Music is about the silence as much as the music itself. And this is like a serenade. It's about looking at the spaces are happening a few silences. But also just recognizing where another two would add to the piece. I am going to stop with the blossom. Or am I? Because I've just seen a little space here which I think would get love limit the books in it. So yeah, crimson name wrong. And this just shows how delicate brush 0 is. We'll can be, people use it either as a pigment or in it. It's very deep pool like this, which I absolutely adore as well. Don't get me wrong. But hadn't really seen many people using it. And watered down like this. And a two. So, so beautiful. This is why I love it. It's some, it's exquisite. Katy's staining. So it's not like some watercolor, which most watercolor doesn't stay in, but someday, and it is staving. So once it's down, you can't really lifted like you can with watercolor. But once you get to understand integral show and the way that it moves, and especially with granulation of using the powder in the center flowers, you will not be able to live with them to promise you. Now can see just on the end here this four hours. Have to be super careful because are also these very watery sun quarters. Look at her. Beautiful. Must not, do not work as too. I'm not crazy myself on this. And it was just gorgeous. So I think I'm going to do one last one here. And then I might do a little bit of pen work. And I'm quite liking factor is there are these spaces and I don't want to get too crowded because that's the archetype or difficult things is net worth knowing when to stop. So I've got let's put little bit of time. I think it does keep us know. I think I might do a little bit above. These are the merest drops a variable to you. What we're doing there is just to learn the brush to kind of push its way out again from the center. And it comes up with these beautiful effects here. Now that we haven't painted those, that's the color doing its thing. And I'm all for to swap chain how understanding how water works and also how pressure works, how much to protein, how, how little, and just then letting it do its thing. And you can even go away and come back and it will be very different to how you left it. Just going to add it because it's the corner flower. I'm just going to add a bit more of that dusky pink. Okay. Walk away, Holly walk away because I don't want to get to I do like the way. What I'm going to do now is just take tea break and figuring out do I want it to have anything else? So do I want to feel at home pen marks might be quite nice. So I shall have my cup of tea and have a think about it. 14. Our Booklet: Weaving Dip Pen Detailing: So I have decided on the town's pen details and so slightly is that seed heads quite delicate? And I don't want it to take over the peaks, just want to feel threading through what we have here. With my deadpan. Is above, was here on the crease. Just true that this is the line here that we're working with. So I've had to clean up my pattern, make sure that it's working okay. And then I'm just going to add here, believes they can see the small screen is quite delicate. Round way to tell all of this is completely dried, just makes life a lot easier. Because if you go over your pen on either Prussia or watercolor, it will flare out the sharp, sharp edges. It's going to pull up through the sap green, I'm sorry. I'm just going to add leaves behind here. Grams with UPS motor that you can see they're very understated. Had something different. I might actually just make this into a stamp to stem to this flower here. And just one leaf. I'm trying to not get it too cluttered or thick here, which we could put out. Wave mechanic. Not this way. Premise of happy today, but it will come up. And as I said in class two towns who could use a Pigma Micron pen or something like that. Just check out. If you're using a black pen that it's not too dark to work with what we have done. So I think I'm going to do one, winding its way over here. Take your time, threaded behind whatever you want. Let's write it over. What happened behind it Then over here. And I think come out some more branches. Thank you. God bless you. About what you came up with that because it's fairly gentle. Not really poking out too much and have nots what I was going for. I might just do another little one over here. And I like these two Going off triangles and times as well. She had no but you got to watch you for I think maybe just one more over here and let's go over this way. And I think in my career, the sweater, not once. Now you have to be careful if you're doing rupee. Leaves over Persia FAP is Portia just because it will work took again and we'll get a bit of fairness going on. But probably well with that line, but I'm happy with that. So you see that just really simple to do and what it would take tips on times a day lifting my pen work isn't. Just sink down into your own little world. Seeing a blank space here. Now. Not so Caixa do want spaces, but I might just add, I'm just going to add some of these leaves, but just going to add a flower just to mix things up a bit. And I picked up some turquoise blue, which is made that into a lovely purple line kind of color, which is gorgeous. And that's fine obviously to go back in and just go back a stage or two and then add little elements until you feel you've got why you want to be. So I'm not going to mess with this side anymore. That's all I wanted to do to seeing little finishing touches. Let's move on now and flip this. So var and do our beautiful floral design. 15. Flip Side: Rose, Mulberry & Lilac Florals: Let's make a start on the back of several current botanical design here I'm going to do a fluoro one hand and just make sure you've got no paint is still wet. When you kick general Bowyer. Anything to protect your work. And let's start off gently. And I'm going to bring some of the crimson. Let's make some quite a bit because we don't need to worry about doing that. So we doing the same mixture here of as the flip side, getting lots of water down crimson in there. And then just bringing them for a tiny touch of the planet. Nonetheless, a time till we get to the hue that you want. Now with this, we want to make sure that all the little bits of granules are mixed in. I can still see the sun can flex. Showing up participant ID tapir. Very smooth surface. So some gray for us is something like this. And practice well, and I did using the colors that we use in our practice run. So really about to try and recreate this, this was done very quickly and something nicely swimming. So you've got to decide here with you want to put down the main flowers and then quickly get in and, and do suppliers that can allow this little bleed in to each other. Or you could just choose to do it really slowly and do one such flowers, let it dry in and do another. If you're using watercolor, than that would be really effective as well. Because if you're using translucent watercolor and you'll be able to see how it creates a lovely layers. And equally, what color lends itself to the same effect here that I'm going for. Because it's, it's like a watercolor von sits watered down. So let's jump in and do a nice big a here. Now remember to stay as loose as possible. Because once you've done one side, you start to get that. That was the premise of the ulna. So it doesn't matter because the so easy to make okay anyway. And you can just keep on going until you get what you want. And put the great thing about these, the top compilations or gardens and flowers, this, that feel kind of jumbled up together. We don't want anything too perfect. So I might to two forums in this lovely dusky pink. And I might add darker color. Now, as epithelium national norm with watercolor. If your plural is too wet and put a darker color next to it, it will take over and start to merely a variety. So just keep an eye on competitors. Once I tend to do is if it's all still got a machine and wait, just throw around that, that settle what we want to release just to catch the edges of these florals so that the moment they're still 30 clock cities on striking ready. So I might do three of these. Kinda keep them fairly irregular. As we're trying to create like fluorine bond, authority bond and a gardener or flowers. So we just dropping in lock screen there as we practiced. Now, what we could do here is start to mix up a richer color. Be careful you don't directly page variably tape and are going for a kind of image and between those two colors. So gorgeous, this color a little bit new for myself. And then I'm going to do for all our hair script catch to get to that Pierre sites bled in. I'm hoping it doesn't take her completely. But actually when that happens and it's a really fluid piece, then I'm just kind of changes the dynamic of it, which is something you might, you may want. So again, I know this one's Dr. Dash here. Where here? So go for it, go for three patterned on. And actually if we go into this, it still worked, it's going to take over. So I'm going to go now. We're just risk of bleeding quite a lot. Yeah. This one's quite wet because we've got the crease here. So maybe touched upon. And I do like how these all kind of merging together. It's really fluid to add on this top portion to the center here. Because this is very my silky and very hot pressed, destroyed very quickly. So we need to bear that in mind as well for when I'm doing the centers. So good to appear more or at least mosquitoes on that a little bit more by Fiat. And they could do want hero for the crease, trying to stay loose. Because I know that I really liked we have the side and hotel to mess it up. But it is important to us to try and keep relaxed. Just going to mop that up, adapted underneath because we've stuck down as quite as an inch there. But I just wanted to show off a lousy law here. Sometimes I take four, sometimes they do five. And sometimes I'm contemporary three. I think it's just, it depends on how I painted it and I think can be good for a three pattern and clever. And you can already see how much relaxed these three fast compared to where we started. And you can see that I'm doing both tip to the middle and leaving the body around and the way around today, no middle ground. Left in me such a smooth, enjoyable, right? Great to turn some of that rich color again. Started at the heck is this is still actually, it's not damp tool really, but I'm just gonna cope with that. If anything spam because of cockpits paint there. Say Hey, I want to be very careful. And screw terminal takeaway. That's going to bleed, it. Just moves. It can encourage this by lifting your paint job. You wanted it to go in a lot more. You can just lift him up. And acrobat grabbed to do the best and the rest shape for that one. Sometimes I do that was an accident, but sometimes I do have my 1.5 petawatts much larger than the others. Make scrap quirky flower. That's okay. So this method of just doing a couple of flowers at a time and letting it bleed in good shape. It more tied to consider where he going to place things. The other way of doing this is plus I did with this one very, very quickly. So they all kind of emerged in a lot more. It's very loose, which is fun to do because it doesn't give you time to think. And actually, last time I have to think the better. Sometimes. I'm just starting a little bit more about mosque green. Being careful not to spill that. So I dropped it can to push. And I'm going to put some in this molecule on day one coming off the page. You can start to very ingenious now because. There's so many to be had from this and to conics alone as we did in our practice round. So you can start to utilize those now and just mess about with different values of paint. And getting all those lovely, lovely spectrum of Conan sounds that we practiced. So I think I might do some more. Violet faced Ones. Nouns won't appear on the side of violent. And I'm going to do something and then midrange value. So it's not as lightest phase, not as rich as those. And you can always just practice that on a piece of paper. Yeah, that's nice. So I might do some little flowers now. So I'm not going to be me via my brush around very much at all. You can have a little stray blossom. So then not starting to add composition to the piece. I like doing these little three petaled ones because they remind me of falling. And you can also see here that we've got three petals from there going this way. So it's always nice to just recognize that maybe do your petals going this way more. So this one's going to be looking this way. Mrs. Stone Brewing outside the hand, the rain, wind to get taken up. And the first tab same from the sea. So we do get quite face onshore wind sometimes. Why is it called offshore winds on the right? Starting to build it up now to a little one over here. How to paint over those creases. But very possible to my sentence on this, which is fine because it means some bleed more than others. And again, not so providing to the overall texture of the piece. The other thing I like to do is turn it round. So I've been painting along the way. I want a different perspective and can have one coming in from the page here. Because that's quite wet. This brush, it's going to move quite a lot. And that's okay. And when he leaves pusher, watered down like this, it behaves the same way as watercolor in that it's transparent so you can actually take over and the petal and the mobility varying sometimes as it makes up the underneath. But Bhatia can be used in a very translucent manner. And I love my little drops of powder drop from my brush. And I really loved the way that that's moved here. In fact, try and recreate that. Sounds kinda quality. Actually do want hair. And so it was quite wet. And depending on the paper that you use a, you'll get different results. Some of it will be hot press if that's what you decide to go for. So it dries a lot more quickly. Cold press, you have more time. Yeah. So I like a couple of those that are lost for me. So to bring the design up right to the end, let me stay there. 16. Flip Side: Creating Soft Leaves: Now I think I'm going to start on, somebody's going to use mosque green crusher. Have the right to premix of that. That's not enough for the whole piece. I'm starting to get more Canada. My finger in the fire. And I also would like a little bit of this gray to white hot enough. Sap green on the ad swaps. Yeah, you can decide whether you want to do some very pale leaves and add some on top. Or you can just vary. Hopefully, you said three game and they're great. Three greens. Through I helped. I'm just going to start and decide cycle along. Now, but choose left side sweep that we learnt is varying beliefs as well as scarce, rarely approaches too much water on my brush screen to have this familiar with going off and playing with that. Just to they don't want to. In fact, some of this is going to be still wet. And that's going to be good because it can flow the green into it. And I'm dropping in her Ross Greene and bottom. And also just go in and feel is equal to some times and that the stalk latent snowpack and looking at perfect. So just starting off with some sap green side of your screen and not talking to us. Hi, Some more. Capture or to the smallest piece. Because I am getting a bit nervous now. So Paint Make it picked up from the other side. Now, I'm going to stop talking and just carry on with this. And you will just sink into your own little world of garden flowers and you can try out the different leaves that we did in the practice run. You could also bring in some leaves that we did on the flip side and bring those in as well. That might be quite cute. But not as much. What actually happens. Yeah. Hi. Who are you? Hello. Okay. I'm mixing up my tape and have a tiny bit for craftsmen, one of entrepreneur extra, little bit of green to it. Thank you. Thank you. Thank you. Now this is not clear, Walter anymore because my prompt is a lovely shade of blue line. But that might be quite nice. So what I'm doing there is, again, pick up my palette, consent. It would be a bit precarious but I'm not sure just picking up the powder on the dry brush, I'm dropping it in. It's not trampling as smoked chicken out a bit more water. This is just using the very tip of your brush. And function mastered by some lovely effect. And then yes, you could do mixture of Melinda, which is like a dusk enough Nirvana and Peter bits have a boat down. For sure. Just mixing up colors or not Stan, authentic books really effective. So I don't want to, two foci now have decided not to hurt me. Open leaves, I'm just going to type it has transcriptase. Side sweep leaves. Dispose a professional while. That's got a stem or a tape I'm just going to do at all. Maybe I'm actually part it's just how much from that part and allowing him meet after some time it took them to a piece. I think it's really nice just to have walk element. That's a lake. And as he kept out, I'm just gonna do another one poking out. We hadn't expat or he didn't like it when the water gets to this stage because you can start to use it pavement at night school, okay. Maybe just a tiny company are coming up, half of the stem coming down. And so kinda continue the stem. They're not super sharp downtime and small brush. And I just do it very quickly. And be another looking for alright. So much flip side. Okay, I really don't want to buy food for painting net. So I'm going to leave it like that. 17. Finishing Touches: Adding Ribbon: We've reached the end of the class and I been looking forward to this space, how much I've loved ribbon. And I got this online in a school, have different colors and some bright through to quite muted colors. And I've shortlisted it down to some of these, either green or pink. Before I do that, I'm just going to make sure that there's no loose version Parramatta. And I always give my art work a little bit of a bush over. This is an old blush brush. You could use a clean, dry, and paint brush to do this. Just needs to be very, very drawn with this. Bookshop does waken up with the slightest bit of water. So that's looking good. Yep. Now if foam is going to fold it this way so that the green was showing are probably would go with one of these. And I do love this green here because I'm folding it in this way so that the flow rules are on the outside. I want to pick out these columns. So I've got pew different pinks here on quite got the same plum color lab, and that's quite nice. I think I'm going to use this bright, pale pink. We say bright light. And at this point we're going to just do a simple bow. But you could also do your own fastening and there's lots of videos online. And you'd reinforce it with some white card here. And you can do a loop. It can do a person first-name. You can actually so Ableton onto the paper. But I'm going to keep it very simple today. Because I don't think there's anything better really than a beautiful ribbon. Now, felt that ribbon is a little trickier to tie. But I do love it so much. So I'm going to try and do this. If you have a friend, could have them put their finger on that, not on hold in place for a year. Now you can adjust the size of your file. And I'm just opening up the the knots in the center there. And then I'm going to just trim lots of slumped like this. That's very wasteful because I should have measured at first. I didn't. This is working out quite well. And that's all finished article. It's just so good to see. You can have the repo away like I'm going to have it here I think has little fastener. Flap. 18. Thank You For Joining Me! :O): Thank you so much for joining me and I hope you've really enjoyed this as much as I've enjoyed making it for you. What's not to love? Loose florals, ribbons, concentrated books, Heaven. And it was all inspired by this little doodle I did in my sketch book last year called Black pre-wired. I just loved the colors and the pale with that deep colors. And it's kind of just exploded into this series of designs and artworks. And the idea of a constant attainable caffeine pill to make some beautiful gift. I absolutely adore it as a, as a concept because it's more than a card. It's more than artwork and accounts payable gets a little bundle of love or affection for whoever you've made it for. And if it's for yourself, enjoy it. Self-love is just as important. And I hope it brings shame, lots of color, splash of color to your home. Good to see you again soon. Any questions? Fire away. Take care. In this lesson. 19. Ruby Doodles/Concertina Class Projects: D. D. D? No.