Gorgeous Botanical illustration Guide to watercolor painting | Cristina Handrea | Skillshare
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Gorgeous Botanical illustration Guide to watercolor painting

teacher avatar Cristina Handrea

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Welcome

      0:51

    • 2.

      Materials

      1:11

    • 3.

      Securing the paper

      0:27

    • 4.

      Costrution for the drawing

      2:08

    • 5.

      The drawing of the flower

      4:53

    • 6.

      Erase the construction

      2:17

    • 7.

      Fade drawing

      0:48

    • 8.

      Light green for the leaves and the stem

      5:13

    • 9.

      Lilac for the petals

      6:13

    • 10.

      Deep green for shadowing the leaves and the stem

      6:30

    • 11.

      Deep purple for shadowing the petals

      6:26

    • 12.

      Inking - the last step! Thank you!

      7:23

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About This Class

Do you want to learn new simple and easy watercolor technique?

Even if you are a beginner at watercolor painting, by the end of this course you will feel like a real artist! You will be amazed to see how easily you painted, without much work, it will be relaxing.

Explore the wonderful world of watercolor paints with a variety of techniques for expressing yourself! In this course, you will develop a great understanding of how to navigate through a range of colors and create harmonious blends of light and dark. In this course, you can explore a variety of topics including layering, mixing colors and transparencies. You will also have a chance to create a beautiful alpine flower. Explore the different transparencies and colors that watercolors have to offer!

In this course, you will learn color mixing, layering and working with different transparencies. You will paint a beautiful alpine columbine flower ! If you want to create your own art, you should take this course and start painting today! There are many layers of complexity with color, light, shadow and transparencies. It’s hard to know where to start.

Watercolors are so fascinating, aren't they? They can look like so many different things and all of them are gorgeous in their own way.

This course will teach you how to navigate through the wonderful world of colors. A color mixing demonstration follows the painting guide with tips on how to mix the right color. While painting, you will learn how to apply different transparencies and how to play with light and shadows.

You will be guided through the process of creating this illustration from beginning to end. You will be showed  how to create every part of this wonderful botanical illustration and you will also have the chance to learn the principles of color mixing.

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Transcripts

1. Welcome: Hello, my name is Christine and welcome to the course. In this course, you will learn how to make a wonderful botanical illustration of an alpine Colombian flower. Starting with the construction of the flower, you will learn how to integrate it. Simple and understandable geometric shapes. After that, you will learn how to define its shapes and understand its surfaces, mixing the primary colors, you'll create beautiful nuances and learn how to play with the shadow and the light, and learn how to harmonize them. You will learn how to use and mix watercolors with a few simple tips and tricks. You will have your own artwork to put on a wall or give as a gift. With all of that being said, welcome to the course. And let's create something beautiful. 2. Materials: For this illustration, you will need a plastic plate, which is very easy to clean and reuse two vessels of water, one for cleaning your brush and the other to add the colors, the painter's tape for securing the paper on the working table, a white eraser with thin edges and the pencil, the one used in this video is a fine 12 brushes, one with a bigger belly for a more efficient coverage and the other slightly thinner for more control on lines, graphic fine liner with dark ink. The tip between 0.1 to 0.3 millimeters of water color palette, the one used in this video, it's called sonnet, and it has very nicely segmented colors and the great variety of nuances. A watercolor paper, the one used in this video, has a very fine and smooth surface and it's very pleasant to work on because its luminosity is from Canson, The size is A4 and it has 300 grams per square meter. So now that you know what is needed, you are ready for the illustration. 3. Securing the paper: Part of the first step, you will need the painter's tape and the water color paper. Start adding it at the bottom of the paper. Once you have positioned the tape at the bottom, you can start to put it on the top. Now going on the site, ripple larger part of the painter's tape and stick it on the left edge of the paper and then to the right side. And there you go. You have successfully secure the paper to the board. 4. Costrution for the drawing: For this step, you will need to use a pencil. Keep in mind that you don't have to press too hard on the pencil. This is done just so it is more visible in the video. You will start to outline the construction lines for the illustration. Start at the top. Draw a straight line from left to right, leaving two centimeters of space from the top, going to the bottom. Do the same. This will prevent you to do the drawing too large for the paper and keep the Drawing Center. You will now establish the middle of the line from the top and center square figure where the Corolla of the flower will be placed. After this continued the sides of the square figure down with two straight lines until you meet the line from the bottom. In this area, the leaves and the stem, the flower will take place. Now from the bottom left side of the rectangle, pick a 0.2 centimeters away from it and go upwards forming a curve that almost meets the upper-right corner and intersect with the right side of the rectangle. Then continue the line upwards in an S form that go towards and above the upper limit and then descend in a C-shape directed to the middle of the square. From the upper left corner of the square, pick a point and draw a line to the right middle side of the square. This will help you give the flower a more tilted direction, continuing the s-shaped line until you meet the bottom line of the square figure. Because the role of these lines is to help you shape the flower. It is not necessary to draw them straight and perfect, but makes sure the ratios are the right ones. 5. The drawing of the flower: Continuing the construction with the first leaf, you will start the stem from the bottom of the left construction line of the rectangle and draw an incline trapeze with the bigger base on the bottom. For the second leaf form, you will draw a line between the main stem and the right construction line of the rectangle. The trapeze, will now be reversed with the wider base on the top. Now that you have finished drawing the main lines for the leaves, the next step, you will continue by drawing the first petal of the flower, shaped almost as a rhombus, starting from the end of the line that indicates the tip of it, forming an arrow. And then you will continue by adding two more Don't lines that close the shape on the top. For the second petal, you will draw an U-shaped line that starts from the left corner of the rhombus and then continue parallel with the first battle. The third one will fit in the lower left corner of the square. You can now place the fourth petal on the right, starting from a little higher point than the other two, and continue with two don't lines. First shorter and the other a bit wider. That goes towards the lower right corner of the square and ends with a reversed as shaped line on the bottom. For the fifth petal, you will draw a line parallel with the right edge of the ROM. And then from the right extremity of the ROM, going towards the trapeze of the higher leaf and the petal with a wavy S shaped deep. The last two petals will fill the bottom gap between the first and the fifth petal. For the next step, you will. And each base of the petal with the wavy tail like shape that go out, ward and stake outside the square that contain the coral. Notice how they leave the base from a tighter point. Then they slightly spread outwards in the middle and then end with a dip. Direct that to the center. Now that you'd have finished drawing the petals, you can continue defining the shape of the leaves. First thing, you will add two more smaller leaves on the main stem of the flower. These ones are shape on a more along the manner, pointing on an upward direction, each forming, reversed as shape like two little Swartz. Going back to the first drawn therapies, you will use each corner of it to define the direction of each leaflet that ends with three tips, the middle ones being a little bigger. So being helped by the trapeze form, draw for leaflets that fit in each corner. Making sure every main tip of them yet out of the confinement of the trapeze. For the second leaf, you will repeat the same process from before, starting from the end of the patio with four leaflets that are directed towards each corner of the trapeze, with the main tips sticking out generously out of the confinement of the trapeze. Keep the lines round and smooth to end with a clean and harmonious illustration. Now that you have finished outlining the shape of the leaves, you will draw a line parallel with the, each burial and the main stem. The main stem should result slightly thicker than the petioles, so the flour have more stability. You don't have to execute the line from just one move, but makes sure the line stays parallel. As you go along the petiole, go nicely behind the two leaves. And that's it. For the end, add three Martel like shapes on the top of the parallels between the gaps. 6. Erase the construction: Now that you have finished the drawing for the next step, you will need an eraser with a soft consistency to eliminate completely the first lines made, specifically the lines used to mark the main areas where the flower is contained. So carefully proceed erasing the main shapes. The bottom and the top lines, the rectangle, the square that contain the Corolla that the shape, structure of the flower and will trapezius that helped you shape the leaves. Use a sharp edge of the eraser together around the lines that get the flower its shape. Because these lines are not useful anymore. For the next steps, make sure you erase them completely. Don't worry about shipping out the contours of the flower. As long as the main form is visible, you won't encounter any problems. Gently go around the lines that you want to keep. If the pencil you have used was bold, make sure you have gentle moves when erasing so you don't spread the graphite on the paper. The pencil used in this case is a fine one. To avoid getting the paper messy because of the natural oils of the skin, you can opt to use a fan shaped brush to get rid of what's left from the eraser. To not rush the process, makes sure you don't miss any spots. If you notice that in the process you have erased the wrong lines or too much of dark contours that define the shape of the flower. You can pause the step and redo the lines that you'll find missing. Now that the construction lines are completely gone, you are ready for the next step. 7. Fade drawing: Next on using the same eraser, you will soften the counter of the flower by very gently roam around them. Use one way moves so you don't spread the graphite on the paper and keep the drawing clean. As you can notice, this time, the eraser barely leave any scraps on the paper. This is an indicator that you use the right amount of pressure when erasing. This process is required, so the end result has a clean appearance. After this step, the drawing is ready for the next level, adding colors. 8. Light green for the leaves and the stem: For the watercolor painting step, you will need the primary colors, red, yellow, and blue. You can up to use brown too for some shadowing, if you please. Of course, you will need two bowls of water, one for cleaning the brush and the other for adding two colors. A palette for mixing the colors and some tissues. To discharge the brushes, you will need two brushes, one denser and the other more pointed. Preparing to create a cold green tone, start adding yellow to the palate and keep on adding until you have enough color to start with. Some watercolor brands have lighter pigments, so keep adding until you have a decent amount to start with. The brand of the water color use on this course is called Never palette sonnet. Make sure the brush you use has the capacity to store enough color, like the calligraphy ones. Next one, you will add blue to the yellow on the palate. The tone of this blue is called ultra marine, a deeper, more darker and pigment it shade of blue. You don't need to add too much, just enough to temper the bride luminosity of the yellow. Keep on mixing blue and yellow with water until you obtain a pleasant and warm shade of light, cold, green. When starting, makes sure your brush is charged with enough color so you don't have to interrupt yourself too often to refill it. Now with a generously soaked brush, you will start filling the first leaf. Go gently near the edges of the leaf using the point of the brush to fill the tiny leaflets. If you drop a bigger quantity of color on the surface, use the tip of the brush to drag it on the dry portions so the paper absorbs evenly. When covering bigger surfaces, you can use the entire body of the brush. After filling the entire leaf, you can drop some extra color on some spots to give it a more textured and vibrant look. Going down with one stroke of the brush, filled up petiole of the leaf with green. After checking if the brush is saturated enough with color, continue with filling the main stem of the flower, going down with one beautiful stroke, and then gently going upwards to the other leaves. When working on narrower surfaces, use the tip of the brush to direct the colors. Now, you will fill the second leaf with green going smoothly along the edges and making sure the color disperse evenly on the surface. Fill the leaflets with carefulness so you keep the clover like aspect of the leaf. If you observe that the tip of the brush does not drop sufficient color, give it a good soak from the bullet and continue filling the edges. Nicely, go down the leaf, filling the tips of the leaflets, dropping a nice quantity of color and moving it around until it's find its place. Then take some more color from the palette, and then move to the one from the left, going from the tip to the stem and covering the rest of it. Now that the second leaf is done, he will move on to the upper side of the drawing, where you will continue by filling the last leaf with this gorgeous green gently going downwards on the stamp and then finish from the upper end with a delicate stroke. So go up and from beneath the tiny pebbles. And then nicely go down and meet the rest of the stem. 9. Lilac for the petals: Before moving on to the next step, let the paper dry for a few minutes. So if it happens to touch the paper, you won't get messy. Meanwhile, you can change the water in which you have clean your brush and find a free spot on the palette so you don't mix it with green. For this step, you will need the denser brush you have used previously. And the colors blue and red, respectively, ultramarine as base color and k-mean. As a temper as it brings a little worm. Both of the colors are highly pigmented, so you will need just a small quantity of each of them. As you mix them, make sure they blend thoroughly. If the color obtained is too saturated, keep adding water until you reach a more desirable transparency. You can compare the thickness of this color with the brush I used previously, as they should not differ too much when layering with watercolors, it is better to start from a higher transparency base and then build up to details before starting to put the color on the paper, make sure your brush is charged with a good amount of it that humans obtain is a like, like with the fine, warm tint. The first petal you will color is one from the underside. Starting with the edges, make your way nicely and fill the form. On the upper side of the petal, you can let the color below the title so you can obtain a light fade. Moving to the petal from the right side, use the tip of the brush to mark a limit so the color don't spread further on the next battle. So proceed doing the limit from the left and then nicely go down to the edge. Smoothly, go on the entire surface of the petal, letting it built more color on the tip of it. Move around the color and nicely covered the edge from the right and to the step. Making sure your brush is backed with color. Continue doing the parallel below the one from left, giving get more intensity on the upper part by dropping more color. Now, you will start feeling the little petals from the top of the flower. If you feel like having more precision, you can use for this ones. The other brush with the more pointed tip. You don't need to fill the entire surface of these little petals. But makes sure the right side of them is the one filled with color. Because on this flower, the light is coming from the left side. You can let the edges from the left side uncolored. Because the watercolor technique usually uses the light and white of the paper. It is a good idea to make sure you keep the parts where the light fall as clean as you can. Keep an eye on the color from the palette and make sure it doesn't separate its colors and has an even consistency. If you observe that your color is getting thicker because of the water evaporation, give it a little more water and keep mixing to obtain the transparency you desire. Moving on to the next battle, make sure you leave the left side of it untouched. So it looks like it's edge reflects the light. Use the tip of the brush to gently let the color flow to the tip of the petal, also on the right side of the petal, near the edge, let a thin strip of light so you can read the shape of the petal. Keep on building more color on the left. Extreme. Preparing to work your way to the big battle from the middle. Remind yourself that in the middle of it, there is an edge on which light is falling. So make sure you don't cover it with color. Filter right side of the petal, giving it a little curve on the middle. So it looks like volume. On the left side go gently along the right side so you can form the edge. If you observe that meanwhile, the color on the paper moved in a fashion you don't desire. You can always adjusted by spreading it or use a dry brush to capture the color. Because the petal from the left is being the most exposed to the light, you will cover less from its surface. As you can see, the tip of it is flipped. So keep the edge of it clean of color, along with the left side of the surface. Smoothly go beneath the petal and shadow its underside, making your way upwards alongside the petal from the left. After checking if everything is in its place and you are satisfied with the way the color is dispersed. You can finish the last battle from the underside of the main petal. And that's it. Make sure you let it dry before moving to the next step. 10. Deep green for shadowing the leaves and the stem: For the shadowing step, you will need the brush with a sharper tip for more precision. Yellow and ultramarine. If the water in which you have raised your brush previously is dirty, make sure you change it so you can keep your colors clean and vivid. Start adding water to the pallet and then a good amount of yellow. Rinse your brush as often as it's needed before adding another color so you keep them clean. Now you can add blue to the yellow on the ballot and makes it until you obtain a more darker and deeper shade of green. This green will be denser than the other used before, so you don't have to add too much water. Spread the color on the palette, and mix it nicely so you can be sure it's the right shade of green. After you are pleased with the green created, move on and start shading the first leaf. Use the tip of the brush and cover the leaflets with a good amount of color. Start with the one from left and then go clockwise. You can let some edges of the leaflets uncovered where you want to have more light spots work your way along the edges to give them more counter. When putting a bigger amount of color on the paper, use the tip of the brush to direct it on the spots where you want more color. Nicely go under the main stem and shadow underneath it. Move on to the last leaflet and give it step a nice dark shadow. Keep adding fine contours to the leaf so it's slowly bring the light parts to the front. So nicely go beneath the main stem and place a shadow on the edge, making a couple of adjustments. And then one more shadow on the one from the bottom. Gently go down his bed, yellow on one side of it. So you can still have light on the other side. Keep adjusting the amount of color left on the leaflets to try and add more on the spots where you want more shadow. Take your time. Make sure you are pleased with the balance between the light and the dark on each leaflet. Now that the first leaf is done, you can move on to the next one. With your brush filled with a nice quantity of green color. Start by shading the leaf from the bottom left, going on his left side, moving to its bigger tip, and then go back to the right for the next leaf from the right leaf from the stem and covered the two leaflets. Drop a good quantity of color on the leaf you want to work and then spread it to the places you find like shadowing. You can make subtle shadings by wetting your paper lightly with clean water and let the color make its way. By doing this, you will easily lethal the contrast between the two colors so they don't break the form of the leaf. Now, after giving the brush a little soak in color, blaze a thin shadow underneath the barrier. Next time, using the tip of the brush with a medium load, make your way up to the main stem. Paint just the half right side of the stem to mark the shadow underneath it. You don't have to do the line from just one move. Take your time and don't apply too much pressure going up to the middle of the stem. After finishing the lower half of the painting, you can continue the second leaf. Go gently on the edges to counter the leaflets and make sure you leave some lighter spots too. So leave from the perio, with three stripes of color moving towards the tapes and then giving your brush some more color from the palette. Finished the last leaf slowly going down from the main TPP, covering the two leaflets, being careful not to cover the light green of the stem. After finishing, the two main leaves go up to the last two leaflets from the main stem. Don't cover them completely. Make sure you let 1.5 of them more lighter. For this segment of the stem, you can change the color by adding more yellow. By doing this, you increase the contrast between the blue of the flower and the green of the stem. So nicely go to the last leaf and give its left edge and nice contour. And then go down and shadow the base of the stem from where the leaf leaves. Then with some more yellow from the palette, go to the top end of the stem and slowly go up and then descend. Before moving on, make sure everything is in its place and let the colors dry. 11. Deep purple for shadowing the petals: After you have changed the water for rinsing, look for a clean spot on your palette and proceed to create the color for shadowing the flower. Foreshadowing, you will need ultra marine and carmine. Keep the two colors apart on the palette and mix them just in the space in-between. This will allow you to switch to other nuances when filling like so it gives the shadows more plasticity. Make sure you have a good amount of color on the palette so it can serve you through the whole process. Foreshadowing, you should look for a tone similar to the one used for the base color, but more saturated. For reference, you can compare the one you made with the one used for shadowing the leaves. Their intensity should be close one to another. Start off by shadowing the left side of the small petal underneath the large one. Give it a good amount of color and then spread it gently with the tip of your brush, leaving small stripes of light on the right side, moving to the right side, continue by shadowing the next petal. Gently, trace a line as near as you can to the light line, and be careful not to cover it on the right side of the petal, live a bigger stripe of the original color. You can supply the painted surface with more colors so we can cast a more intense shadow. Also, you can drop some cooler tones to increase the contrast. Once more for the next battle to the left, go gently near the light edge of the petal and make your way down towards the tip. From the bottom of it gives the battle to more fine stripes of shadow. To make the shadow that you've just done a little more vibrant. You can live a couple of specs of career mean. So drop a couple of droplets on the left side of the leaf. Make your way to the upper part of the flower and again to shadow the little petals from the top. Load your brush with a good amount of color and begin to shadow the right side of the little petals. You can use a warmer hue of violet to bring a bit of vibrance and plasticity to your work. This will give the shadows a bit more complexity and the overall look more warm and playful energy. Continue using the tip of your brush to have more precision. So proceed going on the right side of the petals. Wow, the edge, dropping some more color on the base. And the little bit of curve going down to the right side of the biggest battle, start shadowing, likely from top to bottom, leaving more light to the middle. And the tip of the pen will likely go up and drop a couple of drops off the cooler tone to contrast the amine from above. For the left side of the paddle. Move your brush close to the middle edge to make it more obvious and bring it to the front with the help of the right side of the petal. With your brush lightly loaded, give the parallel, just a few dedicated shadows on the white edges to shape it. Give the shadows a couple of stripes at the end. So it seems like the light falls on its folds. And another dedicated shadow on the white edge of the petal from the right. Now go beneath the left side of the big petal and continue shadowing the next one on the right side. Moving to the upper part, keep detailing the little petals on the top. Use the tip of the brush to go along the right side of the petals, making the shadow cleaner as you go up and little wider on the bottom. Shadowing the petals from the top-left corner will help you balance the composition. So it doesn't fall on the right side. With a warmer hue of violet finished the last petal underneath, the big one, shadowing lightly the left side of it. For the last petal on the left, give it a light warm shadow to the top and the bottom. Using the tip of the brush to make it more graphic and detailed. Supply it with a delicate shadow underneath the pedal. But don't overdo it, just give it a gentle splash of color. As you can notice, the hues of the shadings on the petals vary from one place to another. In some places they are colder in others or more. While working, you will find that spots that dried out diminished their vividness. In this case, take your time to observe if any of the petals neither bit more color on the shadings. So going to the top left corner, add a little more color on the small petals and a bit more shadow on the petal from the down left corner. And that's it. Make sure all the colors are dry and ready for the next step. 12. Inking - the last step! Thank you!: For the last step, you will require a graphic fine liner with dark ink and the tip between 0.1 to 0.3 millimeters. Before starting the conquering, make sure all your watercolor is dry to prevent the ink from spreading. Use the ink to mark the edges with the most contrast. Start off by lining the underside of the main stem and go along it until you reach the flower. In your way, give the two leaves from the top a few dark lines to start with. Then go down slowly on the left side of the stem. At first, you will want not to overdo small portions of the drawing, just make your way equally around the drawing. Then build up to more details. Moving on, give the petals from the upper part, but nice contour on the left side and descend to the stem, then move up to the top end of the stem and descend on the left part. While outlining, use different directions and forms to express shadows or edges. Now you can continue with the leaf from the middle, like in the steps before, the best places where you can put accents with ink are on the spots opposite where the light is falling. Go around the edges of the leaves with light strokes. If you feel like giving more accent to some areas, like the underside of the leaves, don't make the lines thicker but doubled them. Lead thing between the lines, little spots of color keep going along the edges from the bottom to give the leaf a little sense of heaviness and spaciousness, it is not very important to follow the colored line. You can pinch from the white of the paper if you want to remodel a shape. So it can have more structure. Continue on the leaf from the bottom with the ink on the edges that are facing down. Slowly, move up to the next leaf, giving it three more contours on the back of the leaf. The best places where you can play around with different directions are near the corners or in the spots where different planes meet. Continue on the edges of the last leaf and then move to the top. A couple of lines on the top of the leaf. Moving to the flower. Ink, the sides opposite to the edges where the light falls. In the spots where different directions meet. You can play around with forms like triangles, curves, zigzags, or any form that fit in the place. Continue lining the undersides of the petals and give a more graphic look to the bellows. More shadow. Just go around the watercolor and spread a few accents of contour. It is not recommended to use one single steady line around all the counter. If you want to end with a more visual result. Let your pen work lightly on the surface and let it fade when you meet areas that have more light, especially the one facing the left side of the drawing. Keep going along the directions of the brush and model different lines to have more variety. Slowly go down with some stripes from the underside of the leaf. Then moving up to the big petal, use the ink to suggest a couple of edges along the direction of the brush, going down to the tips. And a couple of contours between the petals. On the left side of the flower where more light is falling. Use your pen. Very likely. You don't have to execute the line from just one move, but make sure the line stays parallel as you go along the petiole. Go nicely behind the two leaves, and that's it. Nicely go down the leaf, filling the tips of the leaflets, dropping a nice quantity here and moving it around until it's find its place. Then take some more color from the palette, and then move the one from the left, going from the tip to the stem and covering. So underneath, from beneath the tiny pedals, click go down and meet the rest of the stem Up and from beneath the tiny petals. And then nicely go down and meet the rest of the stem. So proceed doing the limit from the left and then nicely go down to the edge. Move around the color and nicely covered the edge from the right and to the step. Move around the color and nicely covered the edge from the right and to the stem. Start with the one from the left and then go clockwise. So nicely go beneath the main stem and place the shadow on the edge, making a couple of adjustments. And then one more shadow on the one. Take your time. Make sure you are pleased with the balance between the light and the dark on each leaflet. So there you have it. You have finished representing a beautiful Alpine Colombian flower, also known as the breath of God.