Transcripts
1. All About This Class: If you are watching this, you probably love daisy. You might want to paint them, but you find it tricky. Don't worry because later
on I'm going to show you the easy yet aesthetic
way of painting daisy. Hi, I'm Jenny Flores. I'm an artist based on Manila, Philippines and welcome
to my Skillshare class. Today, I'll be
teaching you the easy, yet aesthetic way of
painting loose daisy. In this class, I'll
be sharing with you the specific materials that I'm using in painting
aesthetic daisies, the important techniques in watercolor theories
that you should know, as well as the brush strokes that you need
to know in order to create an easy yet pleasing
to the eye composition. Of course, it is not my class
if I'm not going to teach you how to mix aesthetic
colors, so today, I'll teach you the recipe
for vintage shades of white, some secret colors that I hadn't picked from different
watercolor brands, and a lot more secrets that I'll exclusively share with you guys. Lastly, for our final project, we will create these two
beautiful compositions that you guys can surely frame and hang in the
walls of your home. Did I say that there are
some bonus lectures too? I'm very much excited to see how you guys will
learn in this class. Pick up your brush and
let's get started.
2. Materials Needed: Hello, everyone. Welcome
on this part of our class, and on this part, I am going to share with you the specific materials that I will be using for this class. Let's start with our paper. For our paper, I will be using my favorite Bao Han Academy
watercolor paper pad. This one is 100 percent
cotton and in 300 GSM. If you don't have this
specific watercolor paper, you may use any
watercolor paper, which is 100 percent
and 300 GSM. For the brushes, I will
mostly use these two brushes. First one is the silver
black velvet and size eight. This is a round brush and this one is in
travel brush form. If you don't have this brush, any round brush in size 6, 8, or 10 is enough. The second main brush
that I will be using is the golden natural
ultra-round brush in size 10. This is also from
Silver Brush Limited. If you don't have this brush, you may use any brush like round brush in size
four or size two. Aside from those brushes, I also use the silver black velvet script liner
brush in size one. This is what I will
be using to create small lines and
aesthetic leaves. If you don't have
this kind of brush, you may use a detail brush
in size zero or 00, or 000. Those are the brushes
that we need. For other materials, we
also need an object that is circular in shape as our
guide for early later on. I'll also use a
pencil and eraser. We also need watercolor palette, either a plastic one
or a ceramic one. Of course, you will be needing some tissue and a cup of water. Those are the things that
we need for our class. I hope you can
prepare everything. If we don't have the
exact materials as I do, that's okay, as long as
you got something similar. I'll see you on our next topic.
3. Paint Colors: Now I'm going to share with you all the essential colors that we need for this
class. Let's begin. One of the most essential
colors is yellow ocher. For my yellow ocher, I am using the one from Mijello. This is yellow ocher Number 2. But again, any yellow
ocher from any brand is okay as long as this
shade is close to this one. So yellow ocher. Now the next color that
we need is raw umber. Now for my raw umber, I'm going to use the one from Mijello Mission Gold as well. If you don't have raw umber, you can mix your yellow ocher with a little bit
of Van **** brown. This is the raw umber
shade from Mijello. I hope you guys can have
something similar to this. For our third color, we need Van **** brown. If you're following me on Instagram or have been watching my classes
here on Skillshare, you know that Van
**** brown is one of the essential
colors on my palette, so I always use Van **** brown. The next color that
we need is sepia. For the sepia, I'm using one from Mijello Mission
Gold as well, but I like the sepia from Winsor & Newton and
Daniel Smith also. If you have those brands, that is close to
Mijello mission. The next color that we'll be
using is Petersburg ocher. This one is a creamy shade
of white and this is what we'll mostly use for the
petals of our daisy. But if you don't
have this shade, later on I'm going
to teach you how to mix a creamy shade of white. Aside from those, we
also need gray titanium, so I will be using
this as part of the shadow of my daisy later on. If you don't have this color, it's okay because on our next topic I'm
going to share with you how we can make
something similar to this. For our next color, I will be using undersea green combined with shadow green. These are the two shades
of green that I will be using for my leaves. I'm going to combine three colors actually:
undersea green, shadow green, and
Van **** brown. If you have these colors, it's good because you can have the similar shade of
leaves as I will have. But if you don't, it's okay
because you can combine some greens with Van
**** brown and sepia. Now before I end this, let's do a recap of all the
colors that we will be using. First, this yellow ocher and then second one is raw umber, and then we also need Van **** brown and of
course we need some sepia. We also need
Petersburg ocher and then gray titanium
and for our greens, we need undersea green
and shadow green. Those are the colors that
we'll need for this class. I hope you guys can have something similar
to these colors, but if you don't, later on, I'm going to share with you how we can make some of these. I'll see you on our next topic.
4. Color Recipe: Hi, everyone. On this
portion of our class, I'm going to teach
you how to make some beautiful shades of white. As you know, guys, watercolor is a translucent
medium and so using a plain white will not be very visible because our
paper is also white, so what we do in
watercolor is we mix white with a
little bit of color or we pick a creamy shade
of white just so it will be visible when we put
it on a white paper. Today, I'm going to
show you how to mix those beautiful
shade of colors as well as the direct
tube colors that I use when painting
a shade of white. First color that I will be
sharing with you is Dunes. Dunes is a shade of creamy
white from [inaudible], and this is a nice color which is a little bit on
the brownish side. This is what dunes looks like. As you can see, it's very
creamy and somehow opaque. But when we put a little bit more water,
it becomes translucent. For the next color, we have Petersburg
Ocher from [inaudible]. This is a creamy shade
of white as well, but this one is more off on the yellow side
compared to Dunes, which is on the brown side. Here's what Petersburg
Ocher looks like. This is actually a dope of
Daniel Smith Buff Titanium. If you don't have much budget, you can opt for Petersburg
Ocher from [inaudible] because Buff Titanium is a little bit expensive
compared to this one. For next color, it's
called titanium white. This one is actually an
opaque shade of white. It's close to whitewash. What I'm using right now is from the brand Winsor & Newton. As you can see,
it's very opaque. It is not that visible
when I put it on my paper, but when I use it on top
of a dark shade of color, it is very, very visible. As you can see here, the color is very opaque, and I can really see
it on top of my sepia. For the next color, we
have gray titanium. You guys have seen
this one earlier, and this is actually a
creamy shade of gray. This is a nice shade
if you want to create a shadow but on a lighter side. This is a nice shade of white, and I always use this
on my paintings. Next color is Davy's gray. This is a bluish shade of gray. This one may not be usually
used as a white shade, but it can always be used as
a shadow for your whites. As you guys know, there are
two ways to paint a shade of white: Either you painted
directly like, for example, you use St. Petersburg ocher
as the petals of your daisy or you use it as shadow like you will
do a negative effect. Davy's gray is actually a nice shade to use for
your negative paintings. Moving on to our next color. I have here, bluish pearl. It's a beautiful shade
of white from a jello. In here, what I love about this color is that
it has glitters. It gives a very, very nice effect
on your painting. I use this as petal
for my flowers, and sometimes I also use it as additional shade on top of my colors just to give a
leathery effect on my painting. Next color is from [inaudible], again, and this one
is called Pearl gray. This is a unique shade
of gray and you can use it as a direct
color or a shadow. Here's what a Pearl
gray looks like. That is it for my
shades of white, which are directly
from the tubes. Now, what if you want
to create a shade of white but you don't have
these colors exactly. Here's how we can mix our creamy shade of white
and some shades of gray. First, you need to have a shade of white
on your palette. For me, my favorite shade
of white is titanium white from Winsor & Newton because this one is an
opaque shade of white. If you don't have this one, but you have a white gouache, that will do as well. Aside from this color, you will also need
Vandyke brown, raw umber, ivory black
or any shade of black, sepia, and yellow ocher. Any of these colors is okay if you're aiming
for just one shade, but if you want to create a
lot of creamy white shades, it would be better to
have all of these colors. Let's proceed on
the mixing part. The base color that we
need for all this mixing is the white gouache
or titanium white, whichever is available for you. We'll get a little
bit of that color, and then we'll take a little bit of Vandyke
brown for our first mixture. What we are going to do is
we'll pick a little bit of the whitewash or
titanium white and then pick a little bit of
Vandyke brown and mix them. Make sure that
majority of the color will come from the
titanium white. As you can see here, this is a very nice
creamy white shade that is leaning on
the brown side. This can actually be a temporary dope for your
dunes if you don't have one. That's it for our first mixture. Now, let's go proceed
to our second mixture. For our second mixture
will take our raw umber, and again, we're going to mix
it with our titanium white. Like what I've
mentioned earlier, be sure that your white is more compared to the color
that we're going to mix. Because like what
happened with me in here, as you can see, I mixed more raw umber, so I have to add more
white to mute it down. Now, as you can see, the color is very beautiful
and it can be a dope for Petersburg ocher if we
don't have Petersburg ocher. Next color that we're
going to use is the ivory black or any shade of black that you
have in your palette. We're going to take a
little bit of the black and mix it with titanium white. Be sure to just get super little black because
it's a strong color and just putting a little
bit of it will make your white very grayish. Here's what we have mixed, and as you can see, it is quite similar to our
pearl gray from [inaudible], so you can use this one of you don't have pearl
gray [inaudible]. Now, from that mix that
we have created earlier, I want you to add a little
bit of Vandyke brown to it. When you do that, here's the
result that you will get. As you can see,
this color is quite similar to gray titanium
from Daniel Smith. Now, for the next shades
of color that we'll mix, instead of adding our titanium white or our white gouache, what we're going to
do is just dilute the color to its tea mixture. We're going to add a lot
of water to the color. Like for the first version
that I have created here, this is Vandyke brown
in tea mixture. Then let's try doing the
same technique for sepia. This one is sepia in tea
mixture, and as you can see, it's also created a
nice grayish effect, which could be used as
shadow on our painting. Now, for the third one, I want you guys to dilute your yellow ocher and create
a tea mixture out of it. Here's a quick recap
and cheat sheet of all the things that we have
studied for this topic. First is, the set of
colors that I use are dunes, Petersburg ocher, whitewash or titanium
white, gray titanium, I also use Davy's gray, I also talk about bluish
pearl and pearl gray. Then for the mixture, we have studied how to use white gouache or titanium white mixed with Vandyke brown, titanium white with raw umber, I've also shown you
the formula for titanium white plus ivory black, and we also discussed
the titanium white mixed with ivory
black, plus Vandyke brown. Of course, you can also use
titanium white plus sepia. Then after that, we have talked about the tea
mixture of Vandyke brown, tea mixture of sepia, and tea mixture of yellow ocher. As a bonus, you guys
can use titanium white plus green or if
you have that color, so you can create this
beautiful shade of cream. Those are the formulas that we have studied
today and those are the direct tube colors that
I use when I paint white. I hope you guys were able
to take away something. I'm excited to see
how you guys will use these colors when we
paint our daisies later. I'll see you on our next topic.
5. Water and Color Ratio: Welcome on this topic. On this topic, we are going to discuss the water
and coloration. This topic may be simple, but this one is one of the important things
that you should learn when creating a
watercolor compensation. We have three different
water and color ratio. First is the butter mixture, second is the milk mixture, and finally the tea mixture. The difference between
these three mixtures are the amount of water and color that you load
in your brush. Let's begin our discussion
with the butter mixture. The first thing that
we're going to do is we are going to wet
our brush and then get the color that we want to use and then put it on a paper. As easy as that. Again, butter mixture is a
very concentrated mixture. All you have to do is
load your brush with water and then get the
color that you want. Now, if you want to
do the milk mixture, here's what you're going to do. We're going to add a
little bit of water on the butter mixture
that we have created. As you can see here, the color is still pigmented, but it's more watery and more diluted compared to
our butter mixture. Now, the third and
final mixture that we'll create is
called tea mixture. In this case, we'll
add more water to the milk mixture
that we have created. As you can see, it's very
light and it's very diluted. This one is used usually
as backgrounds or used as an illusion
that there are things at the back part
of your composition. Like in this tree
that I have created, as you can see, I use butter
mixture in this part, butter mixture in this part, milk mixture on some parts, and also I use tea mixture. All of these three water in coloration are
important and it's very important to incorporate
everything on your composition so that your competition will have a lot of details
and interests. I hope you guys were
able to follow along on this discussion and I will
see you on our next topic.
6. Watercolor Techniques: Now we're going to discuss the applicable
watercolor techniques for our painting session today. There are a lot of watercolor
techniques that are available in
studying watercolor. But for this lesson, I will be discussing three different watercolor
techniques that are very useful in
painting this seed. First in the list is the
wet on wet technique. If you have been watching
my Skillshare classes, I'm sure you're familiar
with this technique already. In doing this technique, all you have to do is
create your first stroke, and then while it's still wet, you are going to
apply another stroke on top of it or beside it. As you can see here, the first stroke
is still wet and that's the reason why the
second stroke that I made, which are the two lines, bled on my first stroke. It did not create defined lines, and it just mix. That's what happens when you
do the wet on wet technique. Now for the wet on
cold technique, this is what happens. So when you create
your first stroke and when that stroke is
still on a cold state, not too wet and not too dry, and then you apply another stroke on top
of it or beside it, this is what happens. As you can see, the second stroke bled, but it's not as dissolved as
the wet on wet technique. The wet on cold
technique is also important in creating our
compensation later on. Now the third technique
that I will be teaching you is called
the wet on dry technique. All you have to do is create your first stroke
and let it dry. Now since my first
stroke is already dry, I will put another
stroke on top of it. As you can see, my second stroke did not bleed and it created a
very defined stroke, and that is what happens when you do the wet
on dry technique. All of these techniques
are very important, and all of these
techniques are correct as long as you use
it on the right way. Make sure to familiarize
yourselves with these techniques because as you can see on this compensation, we have used this three
different techniques in painting this seed. As you can see here, I used the wet on dry technique, the wet on wet technique, and even the wet
on cold technique. Basically, you have to
familiarize yourself with the amount of water and the time that you will
apply your stroke. When it's your first time
in doing watercolor, it will be hard for
you to distinguish whether it is the right time to put another stroke already, whether it's still wet, whether it's still dry. But once you get
used to your water, get used to your brush, and get used to your paper, you'll know the right time and
it will be easier for you. All you have to do is keep on practicing and keep on trying. Again, wet on wet, wet on dry, and wet
and cold techniques. I'll see you on our next topic.
7. Important Brush Strokes: Hi guys, so in this
part of our class, we're going to study the
important brushstrokes in painting Daisy leaves
and some fillers. For the first part I'm
going to teach you the basic which is the thin
and thick strokes. For the thin strokes, only the tip of your brush
will touch the paper. I am using the golden natural ultra around
size 10 in here, and this is how we
do the thin strokes. Only the tip of your
brush will touch the paper and do it lightly, as light as you can. Don't put so much
stress on your brush, just so you can create as
thin stroke as you can. On your first few tries, it might be a little
shaky and you might create a thicker stroke than what I'm creating right
now, but that's okay. All you have to do
is keep on trying. For the second stroke,
it's called thick stroke. For the thick stroke, the whole body of your
brush will touch the paper. All you have to do is press
your brush and then drag it. Don't put so much pressure on yourself when doing the strokes. Just enjoy the process, and just have a little bit of
control when doing things. Now the third stroke
that I want you to do is the combination of
thin and thick stroke. Create the thin
strokes first and then release it and then lift it. Now for the fourth stroke
that we are going to create, it's the same as the third one, but this time I want you guys to do it on a diagonal version. This will serve as our petal
for our Daisy later on, so I want you guys to
familiarize yourself with this, master this stroke because
this stroke is very important. Again, we care for you don't have to create perfect stroke. This is a drill,
this is a practice, so it's okay to make mistakes. Even if later on when we're creating our final
projects already, it's okay to create mistake. It might be your first time, you might just have
started watercolor. That's understandable,
and even if you're already a professional and
you're selling your paintings, it's normal to make mistakes, so don't put a lot of
pressure on yourself. Now our last stroke
is this random, thin and thick strokes. So I am using a liner brush
from silver black velvet, and all you have
to do is combine thin and thick strokes
using this brush. Be careful in doing this
and enjoy the process. I want you guys to keep on practicing the strokes
that I've taught you, so that later on when we're
creating our Daisy's already, it would be easier for
you to do the strokes. I'll see you on our next topic.
8. Painting Leaves: Leaves is one of the
important topics that you should focus on when
studying how to paint. Although they may seem a little trivial and they may
seem a little simple, adding a lot of
leaves and nicely drawn or nicely painted
leaves on your composition, gives a lot of difference. Today I'm going to teach you the basics on how
to paint a leaf, as well as my style in
creating a nice leaf. For our first leaf, it's called the one-stroke leaf. Then here, I am using a
size eight round brush, specifically the
silver-black velvet brush. All you have to do is to press on your brush that is
loaded with color, of course, and then lift
it. It's just easy. Again, all you need
to do is press your brush and then
slowly lift it. You just need to
give a little bit of control when you're doing this. Because if you just let
your brush do everything, you might not get the
shape that you wanted, so have a little bit of control. Second type is just the
same as the first type but this one is in curved
shape and we'll make it too. Give it a partner and then lift. Again, let's do it. Load your brush and then
create the thick and then thin and then lift and
then give it a partner. This one is the same method, but you will make it a little
bit curved and make it too. Now, for the third version, I'll now teach you my
style of painting leaves. If you follow me on Instagram
and see some of my works, you know that I don't paint
leaves in a neat way, but rather I painted this way. Basically what I do is I
just drag my brush like this and let it create
a shape that I want. I am carefree and I don't feel like I have to make
it look like a leaf, because as we know, leaves are not always
in perfect shape and in aerial views so I
make it look like this. To add a little bit of detail, what I do is I mix two different shades of green and then I make my first stroke, and then after doing
the first stroke, I add a darker shade
on the other side. Another version is by painting
it using a shade of green. Then for the other side, I'll just load my brush with water and dissolve the color. Another style is by painting
it like this just as usual, and then I'm going to load my
brush with a butter mixture and do a little bit of drawing
on top of my base leaf. The same thing happen here. I'm carefree. I don't really think if it is still wet or still dry because I want it to flow naturally. Another way is also to skip the painting part and just go directly into
the drawing part. You may use any water and
color ratio of your choice. You may use the butter, you may use milk, or tea. It depends on what
type of leaf you want to describe
on your painting, whether you want the audience
to feel like your leaf is in front or your leaf
is at the back part. There is always an
appropriate water and color ratio for that. That is how I paint leaves and those are the leaves that
I use on my painting. Now, let's see how we
actually put it on practice. Let's say this is your daisy. I'm going to paint
a raw daisy here. Please don't judge. This is just an example. Of course, we'll
go with the core. This is just a simple
core and then the petals, and then I'll add
some more petals. Let's say this is our petals
and this is our daisy. Now, our daisy is still
in its cold state. I'll take advantage of
that and put my leaves beside my petals just so
it will bleed nicely. Make sure that your petals is in cold state
and not too wet, so it will not consume
everything and the color green will not
entirely mix on your petals. That's it. That
is how I do that. It looks weird actually when
you look at it that way. But when it's in a composition, it actually looks nice and
it looks more natural. Again, this is how
I paint leaves. I hope you guys can practice
this one because for me, and for most people, this leaf actually
looks nicer compared to the more structured
and more flat one. To end this discussion, I just want to show
you this stroke. This is the one that we
have practiced earlier, and this is actually another
type of leaf, I would say. This gives a lot of nice
effect on our composition. I want you guys to practice this stroke again and again so we can add it later
on when we do the composition in the wreath. Just random thick and thin
combination of thick and thin. I'm using a liner brush here, but if you don't
have one like this, you may use any detail brush.
9. Painting Daisy: Front View: We are now here on one of the important parts
of this workshop. Of course, we are now going to study how to paint a daisy. In painting daisy you just
need two colors actually, a shade of white and
a shade of yellow. But for this daisy that we're
going to study right now, I'm going to share with
you my version of daisy, which involves some colors like Petersburg ocher
from [inaudible], yellow ocher, any brands, raw umber, any brand as well, Van **** brown and
of course sepia. By the way, I'm going to use some of my titanium as well, this one is from Daniel Smith. Let's start with the core. The core is the
center of the daisy, and this is how we do it. First, you need to load your
brush with the yellow ocher and do a circular
shape like this. It may not be a perfect
circle and that is okay and then on the edge
part of that circle, I want you guys to do
something like this. Leave a little bit
of white spaces, and make it look raw because those whitespaces
will serve as our highlight. Now after doing
that first layer, we're going to load our
brush with our raw umber, and then we're going
do strokes like this. We're going to dab
the raw umber and some parts of our core, and usually on the side part or on the edge part of our core. Just something like
this. You don't have to put everything all
over the core, just something like this. One area or maybe
spread it a little. Now you can wait for
your core to dry a little before you
put on your petal, or you can just wait for
it to be on is cold state. On my version right here, it's already dry, so I'm
going to put on my petals. Remember the stroke that
we have studied earlier, this is where we can apply that. But again, as I
usually tell you guys, you don't have to
make it perfect. I want you guys to
leave a little bit of whitespace and mix it with a little of thin strokes around it to make
it look like this. Another note is that you don't have to paint all the petals, like one beside each other. I want you guys to leave
a little bit of space between each petal
for its first layer, because if the petals are still wet and you put one
beside each other, it may create a blog and
you might just create a one big circle
instead of petals. Just leave the whitespaces, and then when you think
that the first petal that you have created is already
dry or a little bit dry, you can put another
one beside it. I'm using different
water and color ratio for each of my petals, and it actually gives
a little bit of detail for your petals. I want you guys to do the same. Mix butter, milk and team
mixture for each of your petals. Doesn't have to be patterned, doesn't have to be alternate, just make it raw and
enjoy the process. Now once you're done with that, you can start adding dots like this on the
edge of your cores. This one is sepia, and I actually pick the butter
mixture of sepia for this. It's okay if it will
bleed on your petal or if it will bleed
on your core, we're actually aiming for that. A little bleed is okay, but too much bleeding, I think you might need to lift the colors if that happens. My petals is in its
gold state already, so I got my great titanium
with me and I'm putting some of it on some
of the petals. As you can see, it creates a nice shadow and
separation for each petals. You don't have to wait for your petals to
dry completely, cold state is okay but if
it's already 100% dry, it's also okay to do
the same process. Our petals is about to get dry
already so I'm now getting my green and putting some leaves to take
advantage of its cold state. Just a little bit of my green will still bleed on my petals. As you can see here, I'm doing the raw leaves that
we have practiced earlier. Even though I'm not creating
a composition in here, I just want to show you how you can put some leaves
on your daisy. Since our daisy is
completely dry, we are going to add
another layer of butter mixture of sepia
on the edge of our core, and this is the final
step for our daisy. That is it. That is
how we paint a daisy. Now I want to try to
show it to you again, and maybe this time I might
do it a little different. Whichever method you
prefer would be okay. To begin, we're going to load our brush with our
yellow ocher again, and same thing, we're going to create
a circular shape with a little bit of white
spaces in-between. Then we're going to pick
a raw umber and same, we're going to add
a little bit of it on some parts of our core. Now this one is a little
bit different from earlier. I took my Van **** brown and I'm adding it on the
edge of my core. Just a little Van
**** brown to add a little bit of
detail on our core. Now, earlier we placed our petals when our core is
already dry but this time I'm going to show
you that it is also possible to place her petal
while your core is still wet. This is how I do it. Just be careful because
if your core is too wet, it might bleed too much
and you might fill in your petal but if a little
bit cold and not too dry, then this is the perfect
time to put on your petals. It may not be very obvious, but I'm still using different water and color
ratio for each of my petal. Again, I'm still
skipping some space to let the petal dry first before adding another
one beside it, because I don't want
to create a blob. Instead of using great titanium, I took a butter mixture
of my Petersburg ocher, and that is the
one that I used as the shadow and as part of
the details of my petal. Again, I added it in-between my petals to create
some shadows. Now I'm going to put the
butter mixture of my sepia. As you can see, my
core is still not yet completely dry.
That's also okay. It's really about knowing when is the perfect
time to add details. It's okay whether you
put it while it's still wet or while it's still cold
or while it's still dry, as long as you know
the result that it will look after you
do that stroke. In here I'm adding the
leaves and as you can see, my petals are a little
bit dry already. It did not give the same
bleeding effect as what I had on my daisy earlier
but that's also okay. Things like this happen, will just got accepted. But next time we have
to move a little faster if we want to achieve
the bleeding effect. This is my second daisy. I think I need to add a little bit more
shadow on the petals. I'm taking my great
titanium again, and I will put
that on my petals. We're almost done
and as you can see, adding shadows on
your petals really give a nice effect
on your daisy. On our next topic, I'm
going to discuss to you how to paint daisy inside view.
10. Painting Daisy: Side View: Now that we already know how to paint a front view daisy, we'll proceed with the
side view version. As you can see here and here, I painted the daisy
in side view and it gives a very nice
effect on my painting. As usual, we'll
begin with the core, and we'll create a
shape like this. It's a little bit
of a circular shape with a little space in between, so we will leave a little bit of white spaces and
then after that, we will put our raw umber on the lower edge
part of our core. Unlike the front view, wherein we just
spread the raw umber, in the side view
version we'll put it on the lower part only. Now, after our raw umber, we can now proceed
with the petals and the same stroke will be
done for our petals, but the difference in here is on the upper part of our daisy, we will make it a
little bit short, just to give an effect that the petals are
covered by the core. Now, I'm going to put on the shorter petals on
this part of our daisy. Now, as usual, I'm going to take advantage
of the cold state of our petal and now I
have my gray titanium, and I'm putting it in between my petals to give some shadow. Now, I will proceed
with the core again, and this is a sepia
in butter mixture, and as you can see, my core is still
a little bit wet, that is why the sepia is
spread, but that's okay. Later on it will dry and
it will get lighter. I'm just going to add some
stem for my daisy before I go back to its core and
add some more details. As you can see, here is how I do our leaves and this is what we have
just studied earlier. As you can see here, the sepia is now invisible and I'm going to add
another layer of it again in butter mixture. This is the last detail that I will be adding for our core. Final touches for our petal, I'm doing the gray
titanium again, and I'm adding it in between
some of the petals just to give a detail and shadow effect. Now, let's try doing it again. We'll start with the
core in this shape, and then I'm going to leave
a little white spaces, and then after that, let's get our raw umber, and put it on the lower
part of our core. After that, let's
put on some petals, so apply what we have
studied earlier. Again, it would be better to use different water and color
ratio for each of your petal. Now, for this daisy, let's make it a
little different. Instead of putting
some short petals at the back part of our core, we'll skip that part and just
focus on the front area. We'll stop here. This is the whole base
layer of our daisy. Now, we'll let it dry a little and let's work
on the core again. Our core is already cold, so I got my butter
mixture of sepia, and putting it on the
lower part of my core. Now, I'm going to add some
more details on my petals. This time I'm using
the Petersburg ocher, and I got the butter
mixture of it and putting it in between my petals. While waiting for
the details to dry, I'm going to put on my stem
first and then some leaves. As you can see, even the stem, I didn't make it super
straight, instead, I added a little bit
of crookedness and rawness in it just so it will give a little bit
of natural effect. I now loaded my brush
with gray titanium, and I'm just putting it
in between my petals. Now, my petals is dried and I got my gray titanium
again and putting it in between my petal to add the last part of the
details for my petals. Now, I'm going to go back
to the core as well, and I'll be putting the last
few details for my core, and we're done with our daisy. I'll just put some layer
here on our leaves. You can also do this when
you do your painting later. Here's our final project
and later on you can apply all the two different
types of daisy when we create our
final composition. I hope you guys
were able to follow along and just keep
on practicing. I'll see you on our next topic.
11. Painting Fillers: Fillers are small
details that we put on bouquets or reeds, and in composition or painting, fillers are actually
a nice addition and they give a lot of
life to your painting. Today I'm going to teach you two fillers that you can put on your
[inaudible] composition. The first one is this yellow filler and I'm
just doing this stroke. As you can see, I've combined butter mixture and tea
mixture for this filler. Now, I'm going to put a
little bit of stem in here, and I'm just going to add another two fillers
on the other side. I just use yellow, because this is the
one that I prefer. But you may use
any other color or any other shade of yellow
that you would like to use. This is not yet done, and later on we're going
to add some more details. But for now, we
will let this one dry and we'll go
back to it later. Let's go to our
second filler first, and then here we're
just going to make small circles using different water and coloration of the color of our choice. After creating the circles, we'll connect it
using our green, and as you can see, our color is bleeding and it actually gives a nice
effect on our filler. Now that the first layer of our first filler is already dry, what we're going to do is get the butter mixture of the
same color that we have used, and then we will add
lines inside our filler. This will give a nice detail and a nice effect
on this filler. That is it for our fillers. I hope you guys were
able to follow along and please study how we were able to do this so that
later on you can apply it when we create our wreath
and our composition. I'll see you on our next stalk.
12. Project: Daisy Composition - Initial Steps: Hello. Welcome to our
first final project. Before we begin, here are
the colors that we will be using on this final project. Let's start off with
our yellow ocher. Yellow ocher will be used
for the center of our daisy. For our first stroke, what we're going to
do is just create a circle stroke like this. It's like creating an egg yolk, but I want you guys to create
a not so perfect circles. Leave some little white spaces in-between and just do
something like this. Now the next thing that
you're going to do is prepare your raw umber. Use the raw umber
to give dots on some areas of your core,
something like this. By the way, guys,
I am using size eight black velvet
brush for this one. Now while waiting for our
core to reach the cold state, what we're going to do
is create the petals. Here's how I do the petals. I'm just doing the thin, thick, thin stroke that we had
practiced earlier and then adding some random thin
strokes beside it. Here's how I do it. By the way, guys, it would
be better if you will use different water and color
ratio for each of your petal. I also skip some areas when doing the petals because I
don't want to create a blob. What I do is I skip some
part and when I think that the first set of petals that I've created
are already dry, I go back and fill the
spaces that I left. Now it's time to add the
first layer of details. I'm getting my Daniel Smith gray titanium and
then I'm adding strokes like this on
some parts of my petals. Not everything or not all the petals will get the
Daniel Smith gray titanium, I just want to add
something like this. By the way guys, I'm
adding it when my petals are in its cold state,
not on its wet, and not on its dry because
I want it to mix a little, but not to the point that it will be consumed by my petals. I just want to add this type
of details on my petals. As you can see guys, the lines are still visible, but still not too hard. I'm going back to my
core and adding lots of Van **** brown on some areas
just to add some interests. My core is still wet and
that is why it mixed. I'm getting now my sepia
and I will be adding some details like this
on the edge of my car. But again, I will
not create a circle, but rather I will just
put it on some areas. My petals are now
completely dry and this is the time that I will be adding another layer of gray titanium. This is a butter mixture
of my gray titanium. I'm adding just random
thin strokes like this. This will create
depth on my petals. I'm almost done with
my first daisy. While waiting for
everything to dry up, I will now add some leaves
on some side of my petals. I'm adding it while
some of the parts of my petals are still wet, just so it will bleed and
they will blend well. I'm using undersea green mixed with shadow violet
and Van **** brown. This is a nice mixture
of shade of green and this is what I will mostly
use for this final project. I will continue to
add some more leaves on some parts of my first daisy. Now that I am done
with those leaves, I am now going to
start my second daisy. Again, we'll go back to the
core using our yellow ocher. I'll continue with the petals. I'll just put some other
details on my core later on. For the petals I am using
Petersburg ocher by name [inaudible]. Time to add some small
details on our core. I'm using raw umber
and I will be adding dots of raw
umber on my core. Again, it's up to
you if you want to focus on the core first, let it dry or do
it while it's wet. It depends on how the water
will flow on your painting. It actually depends
on the water breaks. In here I am adding sepia
on the edge of my core. I am now going to add some
details on my petals so I'm getting the butter
mixture of Petersburg ocher, but you may also use butter mixture of gray
titanium by Daniel Smith. It depends on what shade of shadow you want to
put on your petals. These two colors are actually
close to each other, so it's okay, whichever you use. Time to add the leaves again. So I'm using undersea green mixed with shadow violet
and Van **** brown again. I will be putting
this on the sides of my petals just
so it will bleed.
13. Project: Daisy Composition - Final Steps: Now, it's time to
add our third daisy, and this one is inside views, so we will apply the thing
that we had learned earlier, creating a side view daisy. Again, we'll focus
on the core first. It's time to add the petals. Same procedure we are using Petersburg ocher from
Nev's Sky Paletra. We're gonna do the
same stroke as what we have done on the
aerial view daisy. It's time to add leaves on our third daisy, so I'm just adding raw leaves and I'm just applying
everything that we have learned on how
to paint raw leaves. Now it's time to paint our fourth and last daisy
for this composition. To make it easier for us, we are going to turn our paper. Like the usual, we're going
to start with the core. Again, I'm using yellow
ocher for this one. I'm just following our usual
procedure in painting daisy. By the way, guys, you're curious on what brush I'm using here, I am using the silver brush, golden natural, and ultra round. This one is incised and it's actually the same as
the black velvet, but this one has more
pointy bristles. Now, that we're done
with our main subjects, which are the daisies, we're going to fill this
paper with the fillers, and for this composition, we're just going to use
leaves as our fillers. This is where your
creativity will pop in. I want you guys to
play with your leaves, be creative and add
a lot of details, a lot of strokes. I want you guys to mix different water and color
ratio for your greens, add pops of browns on
your leaves mixture, just so it will create depth, highlight, and some textures
on your composition. By the way, guys, if
your painting doesn't look exactly as
mine, that's okay. Just keep on painting
and keep on filling those spaces and make
sure to finish your work. On this part of my work, I am going to use the liner brush from
silver black velvet. I'm just going to add
lines like these. It's the one that
we had practiced earlier and it's a
mixture of random, thin, and thick strokes. This adds a lot of texture
on their composition. It will be better
again to use this one in different water
and color ratio. But I am using the same shade of green
that I had used earlier. If you don't have the
same brush as mine, you may use any detail brush. A detail brush is
something with a tiny tip. It could be in size zero, double zero, or triple zero. I'm now going to add
some final touches on the petals of my daisies. This is the butter mixture
of Petersburg ocher. I'm just adding
this one in between my petals just to create depth. Now for the final details, I am using a butter mixture
of sepia and I'm adding it on the edge of the
cores of my daisy. For this one, I made sure
that the first layers of my daisy is 100% right, just so this portion of sepia
will pop up on my painting. We are actually done
with our composition. I hope you guys were able
to follow along and I'm so excited to see
your final project. Don't forget to upload it on the final project
section of this class. I'll see you on
our next project.
14. Project: Daisy Wreath- Initial Steps: We will begin our wreath
by creating our guide. This is the cover of our candle, and I usually use this as
my guide for my wreaths. After creating our guide, we will erase it, just so it won't be very visible
when we do our painting. I am using the fabric Estelle kneaded eraser to
erase my guideline. Now, it's time to
paint our first daisy. We'll place our first daisy on the lower left side of
our wreath and again, we will start by doing the core. We will paint the core just
as what we have studied, so after the yellow ocher, we will add some raw amber. We will let our core to rest
and let it dry a little. For now, we will proceed
with our petals. I am using Petersburg Ocher by Nevskaya Palitra for
our petals in here. For the brush, I'm
using the golden natural ultra
around and size 10. After putting the first
layer of our petal, I am now getting the
butter mixture of our Petersburg Ocher and I'm adding this detail in
between my petals. By the way, guys, you can
only add the second layer of your petal if your first layer
is already in cold state. But if it's too watery
and it's too wet, you cannot do it so you
have to wait a little. Now, after doing the second layer or the
details of my petals, I am now going to
get sepia and add some dots of it on
the edge of my core. Now it's time to
take advantage on the wet state of our petals, so I am now adding some leaves. I added this while some parts
of my petals are still wet, just so it will bleed nicely. I'm going to continue
adding some leaves. This is the raw leaves that
we have studied earlier. Don't forget guys that
we are doing wreaths. Please make sure to follow the guide that
we have created. Just like what I
have taught you, it would be better to
mix different water in color ratio for the
leaves that you're doing, just so there would be variation and there
would be in effect. There are some leaves
in front and there are some leaves at the back
part of your wreath. Now, I am switching brush and I am now using my
liner brush from silver black velvet
and I'm adding the random thick and thin lines that we have studied earlier. This will give a lot of
interest on your wreath and I hope you guys can also
do this on your painting. We are done with the first
part of our painting. Now, what we're going to
do is add another daisy, and this one is placed on
top of our first daisy. This second daisy will be
on the side view version, the one that we have
studied earlier. Again, I am doing
the core first, and later on I will add
some of the petals. Always remember to follow the direction of your wreath
just so you won't get lost and your wreath will
look nice and balanced. Now I'm going to
add some leaves. Again, I will let
my shade of green bleed through the petals
of my second daisy. You may not be able to
place the same leaves on your wreath as what
I'm doing right now. But the more important
thing that you should focus on is to make
your wreath more balanced and to make all
the areas look full. It doesn't matter if you're not doing the same leaf as I am. What's important is your
wreath will look balanced.
15. Project: Daisy Wreath- Final Steps: Time to add another daisy. This one will be on the
top center of all these. I'm just going to make
it a little smaller compared to the two daisies
that we have created earlier. I hope you guys were able to follow along up to this step. Now I'm adding the second
layer of our petals. This is the butter mixture
of Petersburg ocher and I'm adding it in between the
first layer of my petals. We are now going to
add some leaves. This part is a little bit
crucial because this will make the curve for our leaves. You have to make
sure that you're following the guideline that
we have created earlier. Just continue the curve
and by this time you might take advantage of
your little brush and add some random thick
and thin strokes to continue the line and create the curve
for your wreath. Again, don't forget to add different water and color ratio for the shade of our green, just so there would
be more interest when it comes to your leaves. Now is the perfect time to add those tiny but cute fillers. I'm using yellow ocher to add some fillers on some
areas of my wreath. Once done with the fillers, we're going to connect
it using our green. I am just using my
liner brush to connect my fillers to my main wreath. We are almost done. I'm just now adding
some final touches. This one is sepia and butter
mixture and I'm adding it on all the course of my daisy on the edge
part of the core. I want you guys to do the same. Make sure that your daisy, and especially the
core of your daisy, is 100% dry before
you do this step. Then now we will be adding some final touches on the
petals of our daisies. This one is gray
titanium and I'm adding it on the
petals of my daisies. Again, make sure that
the layer where you're putting the gray titanium
is 100% dry already. Once you're done
with those parts, make sure to look
at your wreath and if you feel like some
areas are still empty, add some leaves,
some fillers on it. But if you think that your
wreath is already okay, full, and ready
to go, then stop. You don't want to
overdo your wreath. If you're done,
you're good to go. One last look. But I find
some areas still empty, so I'm going to add some
more details on this side. I think everything is okay already and it looks
well-balanced. I'm going to stop in here and I hope you guys were
able to follow along. I'm so excited to see your
version of our daisy wreath. Please upload it on the
project section of our class. I'll see you on our next topic.
16. Thank you and What's Next?: Thank you so much for
attending this class. I hope you enjoyed and learned. If you didn't get it
on your first try, don't give up, just keep on practicing and keep on trying. I love to see your paintings. If we have time, I
hope you can upload it on the project
section of this class. If you find this class useful, please leave a review
under review section. I would really appreciate it. If you are looking for some
more watercolor lectures, you can check out some of my trending classes
in Skillshare. You can go ahead to
my profile to see the complete list of my
classes here on Skillshare. Don't forget to follow me
here on Skillshare so you can be updated on
my new glasses, giveaways, and some
more announcements. Thank you guys and I'll see
you on our next class. Bye.
Jenny Flores Art, Top Teacher | Watercolor & Gouache
