Transcripts
1. Inky florals intro: Hi everyone. I'm Liz
Trapp and illustrator, artists and art historian. And I'm so excited to
share this class with you. It's called Inky florals. And in this class
we'll be exploring the possibilities of ink when it comes to rendering flowers, incus and inexpensive
and versatile medium and has so much potential and
possibility within it. In this class, we'll use
this subject of flowers, which in my opinion is
very forgiving to explore different ways of
making brushstrokes and thinking about composition
in your ink drying. In this class, we'll go through some helpful brush strokes. And I'll walk you
through how to draw both a single flower as well as a few examples of greenery. Before moving on to, to larger compositions using these tools plus a little
bit of imagination. This is a quick class and once you have some of the tools, you'll be able to continue experimenting with ink
in your own projects. I hope you have fun. See you in there.
2. Materials: Misery also need for this
class are pretty limited. You'll need some water, a paper towel, some ink
paper, and a paintbrush. I'll talk you through a
couple of these things. First of all is the ink. I'm gonna be using
this Parker clink. All of these are different
versions of India ink, which is a really
dark thick black. I have it. It doesn't really matter
what kind you have. I like this one a, it has a nice,
this Parker crank. It has a nice sort of blue undertone when you mix
a lot of water with it. I also use this one quite a
bit is from **** Blick and it's their Black Cat, India ink. If you took my other
gouache and ink class, this is the one I used in
there too great, a great ink. This is the Winsor and
Newton, black Indian ink. All of these are great. Just make sure usually
they're waterproof. So just make sure that you wash your brush out really well
when you're done with it, but it's just fun to use, to use irregular
brush with them. And then brushes, speaking of, I'm gonna be using this
clearly beloved, very messy, but my favorite brush, which is silver black velvet, and it's a size eight brush that comes to a pointed tip here. You can really use anything as long as you're able to get
a little bit of a tip. I like the size eight in
this particular brush, the sizing isn't actually very consistent with
different brushes. So a size eight and this brand might be different
than another brand. So just keep that in mind. I would start with just
whatever you have on hand and then go from there if you want
something different. Sometimes I like to use
this for which is smaller. And you can see here
the brush comes to a little bit of a nicer tip. Of course, these are both
dry when they're wet, you can get more of a sense. So anyway, that is what
I recommend for this. I'm gonna be using this eight
for class because you can, I like to get a nice
broad stroke with it. So that's what I'm
gonna be using. Use whatever you have. These are synthetic brushes and
they're sort of all-purpose. They're good for watercolor,
acrylic, anything. It is good for watercolor is usually going to be
good for this ink. Speaking of, although I'll
be working in ink if you don't have ink or you want
to try liquid watercolor, this is a liquid watercolor. You could try this out. You can use a liquid watercolor
for this class as well. So go ahead and feel
free to explore. Finally, for paper. I mostly, unless I'm working
on a big finished project, I mostly just use this
little crinkled now, but I mostly just use
sulfite drawing paper. This is from a
really basic pack. I actually couldn't even find
how many pounds paper is, I'm going to guess
like £90 paper maybe. I'm not sure. It's just a sulfite drawing
paper, sort of all-purpose. If you put a lot of water
on it, it will wrinkle up. But like I said, when I'm doing exercises and stuff like this, I like to use that because
it's pretty inexpensive. You can get it. And
most art supply stores, if you want something
a little bit nicer. I recommend the legion paper. They have the Stonehenge blocks. So you can have cold press. You probably can't see
the details on here, but cold press has a little
bit more of a tooth to it, so you'll have more grain, I guess would be a good word
for it in your final image. And hot press will be smoother. So just keep that in mind. But these are brake pads,
they're pretty affordable, but they do stand up to water and multimedia much better
than a drawing paper. So you can use this if you
want to upgrade a little bit. And sort of, I think some of the nicest paper you can get for this project would be arches, like a watercolor block. This is a great paper. All the paper comes right on a block so you can
just work on it. Don't know if you can
see the black edge there and it won't curl
up or anything. This is a little bit
pricier as well, so you can kinda work
however you want. Again, you can get cold press
which has more of a tooth, or hot press which
is more smooth. So those are some paper
options for you and materials.
3. Project Introduction: For the final project
in this class, you'll create two all
over compositions using a few tools you learned
in the earlier lessons. The first composition is
an all over composition, and the second composition is a floral bouquet like this one. The first composition allows you to explore movement
a little bit more. And the second one allows
you to explore texture. But really, I want
to encourage you to explore this medium on your own. So what I did is I actually made you a bingo sheet with lots of different ideas and ways you can use fluoro skills in
your other projects. You can check out
the bingo sheet, as well as the other
material uploads, which include reference images
and a few how-to pages, as well as the materials list in the material uploads
for this class, which you'll find over on
the side of this class page.
4. Brushwork: For this first demo, I'm just going to be exploring some brush strokes here and some different ways that we can achieve some of the line
work that we're gonna be trying to achieve
with this project. So I've just actually ripped
my paper a little bit, so it's in smaller pieces. You don't have to do that. You can do it all on one sheet, but it helps me also
kind of think of this as not anything
that's precious. And I think that that's one of the most important things to consider when you're
making art and when you're especially learning new techniques is just don't worry about
it being precious. I think that the less
you can worry about it, the usually the better
your work will be. So first what I did was I dipped my brush in water just to make sure it's
a little bit wet. And then I dipped it in the ink. Let's just see Let's
just see how it's going. So I'm going to try to draw
just a couple of lines. And I just want you
to do the same. The whole idea here is
that you just kinda get comfortable understanding
the material and your brush. If you're extremely
familiar with ink and you use this frequently or you're
really comfortable with it. You can certainly go
ahead to the next part, but I recommend just taking a couple of minutes to warm up. Now, let's add a lot of water. Keeps some ink on your brush. So what I did was
I wet my brush, I put ink on it
and now I'm kinda dipping just the tip of
my brush into the water. And let's try to get a mid tone, a thicker mid tone. Here. There we go, like that. Okay. I'm not a number one as
straight lines never have been. Alright, I'm gonna, even though we're not switching colors, I like to kinda rinse
my brush in-between. Sometimes the ink will
eventually start to dry on the brush and it's just nice to rinse it off and start again. So now let's try some
little C shapes. What I want you to do is
think about being thin, creating a thin line, then pressing down to
have a thick line, and then lifting backup
to have a thin line. That variation in line weight is something that's going
to make your work. And especially when you're
dealing with flowers. Lovely. Okay. Kinda like little moons. That one was all thick. Those are just a good way
to practice brush control. Okay. Now, another trick that
sort of builds off of this, That's nice when making
flowers is to think about creating a sort
of long petal shape, just using the width
of your brush. So start out, light, just touching the tip down, try to get a wobbly line,
make that your goal. That's a good way to do it. Then we'll press down. And then I like to
come back towards me with that same weight. That's like a nice petal. Let's do that a couple
of times in a row. I have quite a bit of
water on my brush, so I'm kinda working in
that mid tone range. This is like my
favorite shape to make a little more
income my brush. I think this line
might be darker. Yeah. Okay. And now maybe explore
going back into, I'm probably going
to go back into this line because I know it's wet and I want it to bleed
but go back into something, especially something
washy that you already made and try to add a
funky outline to it. See how that looks darker one, say put a lot of ink on my
brush and I'm just gonna go back through and I'm
going to make an outline. That's fun to do. I might do. I'm going to put more
ink on my brush. And what I might do
is start to explore some different
textural marks now. So I'm just using the tip of my brush and I'm making lots of little lines like this C-shape. But I'm not exploring any
line weight variation. But rather I'm thinking about how these lines kinda work
together to create movement. I might add some
little dots here. Just exploring texture. Movement. Just doing a wobbly line here. Okay. Trying to explore now. Some thinner here, I'm going to move onto my next
sheet of paper. Now, we're not drawing
anything in particular, just exploring what our
lines can look like. So here's a thin line and
then a thick line, thin line. Let's try some of that. Then they may get wobbly. Maybe they're a little
hills or mountains. Alright, once you feel
pretty comfortable, you can move on
to the next step. We'll start making flowers.
5. Single flower : For this section, we're going to work on making a single flower. With this, what we're gonna
do is really think about different line weight
and line variation. And also thinking about using some ink washes in order to help make the darker
parts of the flower path. So I am going to be using
two things as reference. One of them is the step-by-step guide I posted in that additional
documents for the class, so you can feel free to save
that and reference that. Then I also have a great
sheet of reference flowers. Let's first go through, maybe let's first work on this flower in the
upper left-hand side. And so what I'm
gonna do is get out. I have a slightly
larger sheet of paper. This is like letter size paper. I'm just going to work on
trying to render this flower. I think this is a
parrot to laugh. That kind of flower like
a parrot to lobe and then an iris also and a peony. Those are so great to
render in this technique. I'm going to set the
photo off right there. Okay, so the first thing
I'm gonna do is get a nice light wash my brush. So I wet my brush and
then I dipped it in ink. And I'm getting some of the
excess off of the brush. I'm going to dip it back in the water and get some of
the excess off of there. Because what I really
want is a light line. If you're following along
with the step-by-step, I always start with this
light outline of the flower. And what you really
want to do is start by being not precise. Then also, you'll want
to think about not only the major shape
of the flower, but also the way the
different petals are divided. For this first step, I want you just to think about the general shape of the flower. Nothing detailed yet. So I'm going to use
my light ink wash. My I'm all out of order here. And I'm just going to start by using a really wobbly line. Sometimes the line isn't
even there, and that's fine. Sometimes I use a fixed stroke. I'm not sure how well
you can see this on video because it's a light wash, but we'll add some darker
lines in just a second. I'm just tracing the
outline of the flower and it's not just go into it knowing that it's not
gonna be perfect. And that's okay. You can
think of this as like a really like incomplete,
sketchy line. You're just trying to
get the essence of it, the feeling of it. So that's the first step. And I can already see like
this is too long or too short. And that's okay.
Don't worry about it. Don't worry about it. So now I'm going to
dip my brush into the ink to get a little
bit darker line. My next step, sometimes
I'm gonna go back over different parts of these
initial lines that I need. But now I'm going
to focus on some of these larger ways of
dividing the flower. So in this example, I'm really going to focus on
getting that front petal, which isn't really part of the larger outline
of the flower, but helps divide the
flower into sections. So I'm going to start there. And you can see the
edges of the flower are so jag it and roughly that. It's, it's best to try
to use like little dots, incomplete lines, some thicker
parts, some thinner parts. Just thinking about the way that we practiced with our brush. The first, in the very
first section where we're just exploring
the different ways we could use the brush. Also with this, less is more, you can always add more
later, but it tends, the flowers tend to
release saying if you worry about less details. Okay, so now what I'm gonna do, I've done that pedal
kinda in the middle. I'm gonna go back through
and see these edges. The way they roll up on
these two side petals. I'm going to try for that. I'm going to make,
I'm going to show you the line I'm going
to make over here. I'm gonna kinda make this
like S, like ruffle line. Some little lines next to it. That line can help you kind
of explain some of this. Like organic ruffle. Ruffle. That's not a word, but you probably
know what I mean. So I'm just going to
kinda think about these different expressive
tools I can use. I'm going to make some
little parts coming off of the petal and some just going to make little dots
to reference that. Then I think I might add a little line kind
of going around the outside in thinking about the backend
of this petal too. Okay, great. I'm gonna go ahead and do the same thing here with
this other side petal. And actually I'm going
to start from the top. What I'm gonna do is
reassign where the top of that pedal is because I think
with my first light mark a, it's okay that I
didn't quite get it, but I do want it to be a
little taller, so okay. Okay. Starting to come together more. Now I'm finding that I need a little more structure
because it's starting to look like I have
a bunch of outlines. So what I'm gonna
do is go in and put the center portion
in this petal. And then some of the smaller
lines that go around. It's almost like I'm going
to show you over here. It's almost like a loose S. So just don't press
hard at all with your brush and just have
a little thicker line, thinner line didn't get it
quite like I did there, but that's okay. No worries. Then I'm gonna go in
with some really like small lines to try to encourage some movement,
their expression. Okay? The trick is to not do
too much with that. Now, this side petal
is starting to really stand out to me because there's
such a big white spot. I think what I'm gonna
do is go back in with a little mid tone like that and just kinda put
it in the upper portion. See how it's very
light right here. But then as the petal starts
to wrap up on the side, you have that pink again, because we're working
in black and white, that's going to
translate to a mid tone. I'm going to let it dry. Meanwhile, gonna get a little
bit darker ink on my brush. I'm going to work on
these back petals. Again, just kind of
working through thinking about how I can
render the edges. So they're not too precise, but instead, get the
essence of the flower. That's the whole idea
is that we're just kinda getting the essence of it. Really. It's a really
freeing way to work. There are, this is
where I'm going to take some sort of
artistic liberty. There are some other
petals in here. They're sort of folded in. You know, it's like
it's just opening. I'm going to I'm not probably
going to render those, if not, maybe a couple
of lines, but that's it. That's where you
can kind of think. I don't have to show everything. And my reason for doing that is because this is
starting to get too busy. So first I'm going to make a lighter color like it at Wash. Yeah. And I'm gonna do just
little lines with that, I think just so it's
not like totally blank. But it's not so much
that it's going to start to distract. And I'm gonna continue. There's like a little bit of a petal wrapping around here. And then I'm going to work
on this bottom because I kinda I think I made
it go into much. Okay. Then I think
we're just about done. The key, I'm just
gonna do a stem here. The key is to end before
you think you're done. I tend to overwork. I don't know about you, but I know that. Just have to finish. I just have to stop
trying it at some point. Okay. Then this is really simple. I'm just going to add a little better or a
little leaf there. Yeah, and yeah. Call that one done for now. It's good practice. So
that's your single flower. In the next one,
we're just going to practice a little
bit of foliage. And then we're going
to start putting it together in two different ways.
6. Foliage: Alright, for this section we are going to work on foliage. And I'm just going to
show you a couple of different ways that you
can render foliage. And much like the flowers, you're just trying to
get the essence for it. Nothing really specific here. So I have made you a
little step-by-step guide. And I'm just gonna kinda
walk you through that here. So let's start with
just a little branch. For that. You'll
just draw a line. Just don't draw
straight up and down. Usually it's the key to getting
some good foliage going. This is gonna be like
a little branch. And then what you'll want is to just using the
tip of your brush, make a couple little
sprigs come off of it. Essentially when you're
starting to put these together, just as with anything visual, what you want to think
about is creating a real variation in scale. So you want some large things
and some small things. And texture. And foliage can really does a nice job in
adding both scale and texture. Then I'm just going to add some little dots to the top
of this sprigs and around. It's better if
they're not perfect. They don't always have to
match up with us sprig. They can be different sizes. So there's one. Okay, let's try another one. This is a little bit more
stem with some leaves on it. So for this, I'm going to start
out with a mid, mid tone. So I have ink on my brush. I added some water, added too much water. They're going to try that again. There we go. That's
what I'm looking for. That kinda washy mid
tone with this kink. It had the ink that
I'm using cold crank. It has a nice blue undertone
when you wash it down. Other inks will be different because they're
just slightly different. They're all made
slightly differently. So I'm going to start out with a light wash of a stem and
then I'm just going to, like we practiced earlier, I'm just going to
press my brush down. Should I still think
that's too light for me? Just make it There we go. Press, press my brush down to create this
sort of leaf shape. So I will continue that
throughout this stem. I'll go thin and then press. Then you can change
it however you wish. But it is really nice
if you can start thin, then press heavy, and then you can, if you
want to point to your end, you can just kinda lift
up and then do a super well there I lift up again at
the end, get a point here. And if you want a
more rounded and you don't lift up to the tip
of your brush at the end, you just lift your brush off. So that's one, I have a couple of things
I want to add to it, but I'm going to let this
dry just a tiny bit. It's not going to be
totally dry, that's fine. But sometimes if you can
let it dry for a minute and not be soaking
wet, it does help. The next one we're going
to start with a stem. Just black ink on there, not much of a wash. And then we're just gonna do a little foliage around that. So again, we're using
this end shape. Sometimes it'll meet the stem. Sometimes there'll be single, sometimes it'll
be more inferred. I mean, honestly, there's
not specific at all, but it's amazing what it can
really add to your piece. Just going to add some
lines down there, but you don't really need them. So that's a good one too. And then you can kinda add
even like skipping some parts. Yeah, it's all about those
like N and M shapes. This is dry just slightly. I'm going to I'm just
going to load black ink, no water added to
it onto my brush. And this is going to
bleed quite a bit, but it's a nice effect. I'm gonna go around and
do a couple outlines. One of my favorite things
to do when I'm doing this, you could even just do
a line down the center. You don't have to do
an outline or like, you know, just some
texture marks. Feel free to do what you like. You can also add, I'm going to add a leaf behind. Maybe here. Doesn't quite match
up and that's nice to do to maybe another one here. So you can think about how, how you can make something
appear there that isn't. Another nice thing to do
is to do this little, like a little seed
pod or something. It's usually nice to add a little something
to the image like that. Dress a lot of
little lines there. So there you have some foliage.
7. All Over Composition : Alright, so for this
section we're going to work in an all
over composition. So this is what I mean when, I mean all over composition. All over composition is a great precursor to making a pattern or
to thinking about something that doesn't
necessarily have a central point
means you're using the whole paper or the whole
surface and that you're elements that you're
putting on a are helping you move throughout
the whole thing. All over. Composition is a great
exercise for everyone to do. Because it really
makes you think about movement and the way that these pieces
start to fit together. And it's a great
way, especially in a piece of work like
this or in this style, to really loosen up
your hand even more and create this more expressive
way of making an image. So I am going to just show you how I would
create something like this. You can use, this is a great time to use
the reference photos. You wanted to pull directly
from some of these images. And think about how
these flowers and visual elements work together. I am going to use especially this reference
photo in the next activity, which is a floral bouquet. But feel free to use any of these reference
photos for this section. I'm going to work, I'm going to be working off of this so I can show you how these go
together for all parrot tulips. So if you want to
do something like this and you want some
reference photos to look at. Look at these three
in particular will really help you do
some images to look at. So one of the first things that you're going to do is just, just like we did
at the beginning, draw a single flower. So I, but for this, even, you can do it with even less visual information because you're gonna be putting
so many things on a page. So I'm going to start again, just like I have been
with the kinda outline. This is a little darker
than I was hoping. Outline of a flower. I'm actually going
to go ahead and draw the stem now so I
can kinda ground myself a little bit. Okay. These beautiful, like sort of really
loose S-curves that make up a lot of flowers. Okay. It goes, opens up a
little petal here. Okay. So got a really basic, I think I actually pulled this too much, so I'm
going to bring it up. Don't worry about
stuff like that. It will. There's not much you can do
about it because of ink, but it will kind of get worked
into the image. I think. I'm gonna go back through
with some darker lines and pull out some details and try to add a
lot of movement, a lot of that sort of
iconic ruffling of the petals that we've been
using as our inspiration here. Especially here. Lots of those little, tiny little movements
of the wrist. This brush, this, I ended up doing a more of a medium
tone than I had hoped. So I'm gonna go in with
a really dark line. Try to reassign some of these. A couple of layers
of petals here. And like I said, with the Oliver composition, you do want to kind of
keep it more simple in a way than if you were just doing a single
flower and an image? Okay. Do you ever do that? I have
my pinky finger gets stuck, get some ink and
I drew it along. That's okay. I'm not a perfectionist, so we will just go with
it. That was a big stem. Okay, so I've got one down. Now what I'm gonna do, this is a nice trick. Why don't you turn your paper slightly and then
do another one. Great way to make yourself not work from the
same perspective all the time. I'm to do another one. With this one, I'm starting
with the center petal because this flower
that I'm drying, it has lots of petals that
are really open and they're starting to fall open. That's nice too. If you're looking to
source your own images, you can look on places
like Pinterest. I didn't show you
those because they're not like royalty-free photos. But if you're looking
around for images to draw, That's a great place to
look and you can find lots of different petals, flowers that are in
different phases of being open and the petals
are starting to fall. That's such a
beautiful way to add. Really a lot of different interests are
different sort of language here. Okay, I'm just again, trying to keep it really simple. I can add a couple of those
little movement lines here. Notice that I don't do it
throughout the whole thing. I think it's important
to not be uniform here. Okay? I feel like something
needs to be right there, so I'm gonna make it light
because I'm not sure about it. There we go. Okay. Then I'm gonna go ahead
and make another stem. So little light. And then when you're doing
this all over composition, really try to think about what movement can
look like here. It really does. Sort of free up your hand. So maybe there's a leaf here, but maybe then there's another
one that goes up here. Okay, we're starting
to get a good, like, I love it when you have
two elements on the page, you start to get a
great energy page and from these elements, okay, so now I'm going to just do like
one or two more flowers. Go ahead and add. Depending on how
much space you have. If you're like me and you've, you've used up about
two-thirds of your page. Maybe consider one more flower and then maybe something small, and then we'll add foliage. So I'll kinda see you there. Okay, I say of three flowers. I think I'm gonna kinda
leave it at that for now because I'm afraid
it will get too crowded. Always add more later. So I'm going to start
adding some foliage first. I'm going to add
like a wavy maybe stem or bunch of leaves here. I'm just going to do it. I think some outlines, maybe a good place to start. Much of the line quality is in the same vein as
the flowers here. You can add, I don't know, if you want to add some like
centers to some of these. Go for it. Okay. Then can we do what we did earlier where I have
just a wash on my brush. I'm going to do a little
stem and then I'm going to press down, heavy, lift up. Remember that leaves and
stuff like over here, like lean on each other and
they fold on each other. So that's kind of nice. I'm gonna do the same thing
but with more ink up. I thought it was more ink. Maybe add some dots here. I love little like
berries and sprigs because it adds such
nice variation. I think I'm going to add
a couple of big leaves, like maybe it's
like they're coming off of another flower. Like that. Just a thick wash here. I'll go back in a little bit when it gets a
little more absorbed and add some lines and stuff. And now I'm seeing, I think I need another flower. And so I'm going to draw
maybe like part of one. Maybe it's just sort of
coming off of the edge here. Just really sketchy with it. That's really light. Just going to add some leaves in different bits of
foliage throughout. Just to try to think about how, how we can create a
little bit of movement. All right? And I think I'm all set with this all
over composition. And now we'll go on to
exploring a bouquet.
8. Floral Bouquet : Alright, so we are going
to explore a bouquet. You can use the
reference for this. I recommend using a reference to guide you a reference photo. But certainly you can
kind of riff off of it and add some imaginative
elements here. But the key with the composition is think about varying
texture in line weights. Thinking about empty
space, whitespace, and how different elements
might poke into it. Then think about like
if you look closely, think about how you have
directional lines changing. Where you're looking
in the composition. You can use a piece of
bigger paper if you want. I'm going to stick with
letter size paper for this. Then what I'm gonna do looking
at these reference photos, I think I'm going
to base it off of this image because I
love the foliage here. It's so beautiful, but I'm probably going to add a
little peony in there. So I might just plop it right in place at
that pomegranate. I think that's what
I'm going to do. You are certainly welcome to follow along with
me or do your own, or follow along with me first and then do
your own second. The key is to not be too intimidated by the idea of making
a composition. So I'm gonna start
with the peony here. And a great way to show all
of these petals is for, so I'm gonna do the
center real quick. Just a bunch of little
lines right here. I'm not trying to
show all of them, just some of them. Okay. A great way to do this is
to create these T-shapes. Allow them to get thick
in the middle and then thin on the edges. And especially with the peony, which is so dense. This is also good for rows. Anything that's got really
densely layered petals, like a peony or
row, a peony you, and it's like not super open. Yeah, you can layer these little shapes
on top of each other. I'm just making that same. I'll do it up in the corner
that same like C-shape again that I made at the beginning of the
class that we practice. I'm wiggling it. I'm making an app perfect, and I'm stacking them
on top of each other. So if I have one here, the next one will go here. And then X1 here, so they're not all
lined up perfectly. You can also explore a
wetness on your brush. Allow your brush to
get a little dry in sections where you'll be
able to see the little, the difference in the bristles, allow it to be wet and
potentially in other places. So you can build
and build until you start to see the shape
that you want to see. With the peony. Definitely important. You let some petals fall, drop open a little bit more. Because we're doing like
a little bouquet here. It's really not necessary
that you fully render this. I mean, I don't think
it's necessary anyway, but even more so just
want the effect of it. I think this is a little
squashed like that, but that's how it's
okay. It's okay. You're always going to think
things about your drawings, paintings, whatever
you're making. Don't worry about
it. Okay. So again, a peony in there. Now I'm going to go
and say I'm looking at this reference photo
and I'm not going to try to portray everything in it, but there are some
things that I see. One is that I see a lot of
texture here with this little, these little sprigs
here and then kind of medium buds and then larger lots of layers
on top of each other. I'm going to eliminate
a lot of this. And what I really love is the
way the foliage drops down. So I'm gonna kinda
build it around this. First. I'm going to draw
myself an edge and I'm going to make the foliage
drop-down right here. That's going to help me understand a little
bit more of where I am. You are welcome to go in with a pencil first and kinda
drought big broad shapes. I sometimes like to do that. But with this, with the ink, it's also nice to just go
for it if you are feeling, if you feel like it, It's a fun way to go. Okay, so another
thing I'm going to, I see from here is this like eucalyptus leaf that has these nice big round petals. And they're actually, it just
so happens in this bouquet. There are a lot of those two. So if you need a
different reference, so I'm just gonna go
ahead and put one here. And those, the leaves, they're like circular
and they kinda hang out. They like cover the
middle of the stem. And they get larger at the
base and narrower at the top. Okay. Now it's probably time
to do another flower. I'm going to do one of these, one of these flowers here. They are so densely layered. So I'm going to draw the
general shape first, which is like a wonky circle. And then I'm going to
go into the middle. And I'm just trying to
use the tip of my brush. I'm going to try to use a lot
of ink variation right now. I'm kinda working in a mid tone, maybe now I'll use
some darker ink to add visual interests. And I'm just, I'm probably
never in this flower. Gunner put down the
side of my brush. It just has a bunch of very, very delicate folds in it. So I'm just going to
keep layering this way until I get all the
way around the flower. Now, I'm going to lighten
up to just a nice ink wash. Okay. That's pretty good. And then there are actually
a lot of the fees. I like how this one's going
to drooping down a little. It's almost like fallen off
the side of the bouquet. I'm gonna go ahead
and also do this one. Start with its little stem here. And again, just kinda always start with
the outline of the flower. And then this, you can
almost think of it as like a ellipse right
here on its side. That is how I will
build the ruffles just in the same way as they
did with these two flowers. Really do some little buds. So just sort of circular shapes. You don't always have
to draw the stems. Sometimes it's nice to
not draw the stems. If it seems like there's
too much going on. And then I'm gonna do this
like Sprague here and it's just a bunch of like
little tiny dots together. Adds a lot of nice variation. I'm going to do. This is where I'm gonna get a little bit sort of imaginative. I'm going to add more
sort of broad flowers. These are really kind
of illustrative, but it's a nice way to
fill in some space here. I'm gonna do, I'm gonna
show you what I'm doing up here just to center. And then just lines
around the flower. Really as basic as it sounds. But especially in this
sort of contexts, they are really nice to have. You do not have to be perfect. They add a little variation. I often do multiple around, maybe one over here. Let's see. Okay, so I'm coming out
the top of the bouquet. I'm going to add more
fully at JC, a lot of, a lot of greenery coming out the top of this bouquet,
certain Nestle's, the flowers and about different sizes, different color or
different tones. Trying to make these really
dark, adding an outline. And then also be sure to avoid the feeling that
you need to fill in every little bit of space. You don't. Then think back to some of the tools that we used
at the beginning. We're gonna go ahead and add
one of these flowers here. Maybe you can get
a little darker. Then you'll see that it
starts to kinda come. It starts to come together. Alright. So that is the floral bouquet. And thinking about the
floral bouquet altogether.
9. Inky Florals Closing: Thanks so much for joining me in this Indian florals class. I'm so glad you did and I would truly love to see the
work that you've made. Go ahead and upload your
project into the class images. And please don't hesitate to leave a review for
this class as well. If you liked this class. I have other classes
on Skillshare, including one called question. And in this class what
you'll do is, again, use a floral composition
and you'll utilize ink as well as gouache and a little bit of a
mixed media accounts. If you haven't taken
that class and you likes the inky florals, I recommend checking
that one out too. Otherwise, I'll see you around and I look forward to
connecting with you. Thank you so much for taking
my class. Bye everybody.
Liz Trapp, artist
