Transcripts
1. Introduction + Class Project: Hello and welcome to my class. Lose watercolor floral notes from vintage inspiration to modern interpretation. I'm glad I got that title right. I'm so happy you are here. My name is Katherine Brassica and I'm a floral artist and a textile designer. And in this class, I'm going to show you step-by-step how to paint these lose modern watercolor floral and we're gonna paint my three favorite flowers, poppies, penis roses. I've put together for you a Pinterest vintage botanical inspiration board. And you're free to use any of the reference I provided in the class. It's so beautiful to paint from vintage botanical paintings. They are so detailed the artist spend so much time painting them before photography existed. And the good thing for us is it's copyright free. Can pain from it. No copyright issues involved for the class project. You can paint along with me the poppies, the roses, the pennies, or pick any other picture from the inspiration board and do it in your own style, which I always encourage to have it that your energy and to see your own beauty and personality shine through. I just can't wait to see all those lose Florence in the class gallery. So grab your brushes, grab your art supplies, and see you in class. I just can't wait to paint with you.
2. Art Supplies : Here are the art supplies you're going to need for this class, starting with watercolor paper and using this rough texture cold press by German brand Posner, 24 by 32 centimeters. Please use anything have at home and you lie using try different varieties. If you place, then I'll be painting solely with one brush, number 121 brush, ideally Ronnie. And for the patients. And using the doctor ph Martin's liquid watercolors. Yeah. Also hear anything you would like to use. A lot of those very pigmented. And for the colors, as you will see, I'm quite an intuitive painter. But for the poppies, they'll probably be some yellow and orange tones. And maybe a bit of red. Definitely some greens, olive green chartreuse I'll actually use. Then for the roses, will also have some alpine rose, most rose pink tones here. Some, some darker green, like the Django green, maybe some, some Slate blue. And for the penny, I think that's also what we're going to use. Maybe also some ice pink and some, yeah, maybe also some purple, which will be on my palette because I have this talent where I put my, my paints and then it mixes with everything that's on it and it becomes more muted. I also use the tones that I hear. So it's already quite weathered at this stage. But I love using it like this ultra telling you which color are used at the moment. But you'll see just do your own thing, please. I'm putting this away. Then. Of course you'll need some. And water are used to containers when for the first wash off the brush, one if I need a second wash or just need some clean water. I also like using some some paper towel or tissue or just plain old child role to definite access what end in paint. And then we'll be painting from our botanical vintage inspiration board. I put together for you on Pinterest. I chose three of them. And you can use any of them to your own liking that start, see you in the next lesson.
3. Painting Poppies: Here we are with our first painting, poppies. These might be my favorite ever flowers to paint. And I've chosen this reference painting by Katherine Klein from the Pinterest board. And it's beautiful because you can see this movement here. And puppies in different stages of their Bloom. And puppies might seem easy to paint, but then they are not as easy because they have these paper like petals and there's light coming through, beautifully captured here are bouncing off. And they can have this crumpled texture and the silicon is of their petals. And we'll just use this because I think it's a fine example. I'll see you see the leaves light bouncing off. So just try that. Okay. Put this to the side. Taking my number 12 brush into the water. And yeah, I have no orange here on my palate. So let's take some some orange here and just put it here. And already. The first sprinkle, some orange and four, the darker part, maybe some crimson. And have not tried this unsaid, orange. Let's see, it's quite a new colour for me. Also orangey and sunshine yellow. So this will do for the moment. And let's just start with the first one. Here, the big one. So I am taking a lighter color and just trying who? Orange to capture it. His suits every light. And I'm using a bit more water here. Then dropping some color already. Yes, much darker than this one. Tried to get the shape right here of the petal. But still this is just inspiration and it doesn't have to look exactly like this. And then we have a big petal going up from here. So I like to use the side of the brush that the color rush in here also to paint these petals. So pick one and then you see this one hand. Some more water because it's quite light. Okay. So we hear this is that and we can try to paint this one. I'm just trying to have an overall look at the shape, see how it looks like, and just try and paint it. And as you can see, there are still some Memorial panties in a minute. But here is this place where they meet the petals and its darker. So I'll drop some of the crimson here. Might flow. No problem. Can look beautiful. Yeah. Maybe. Some move at some, some dark part here and also here. Then we have these, these petals here. Using the side of the brush will not take too much color at the moment because this cannot read together. Not touching really. But as you can see, some dark from here. You see I'm, I'm using the color intuitively. So if I have leftovers on the palate adjusts, take this, I'm never quite sure how it looks. And this is also part of the hexa, happy accidents and surprises, unlike while painting. So you see all this here has already like flown to the sides, maybe some more. So this wet in wet have to see about the drying times and not about timing, but also that watercolor to its thing. Okay, so already here bleeds happening. And you have different shades here of of the, the red and the orange and the yellow. This is quite beautiful and adds interest to the painting. So if we would do the center now, it would bleed quite a lot. So while I like Little bit of bleed, I don't want too much, so I'll just wait for a moment before I add something to this. Well, maybe you just had some yellow here. So I'm just looking at the reference and decide. Okay, so that's, that's this one here. Later on we'll add something here and then just go to the next one which is tucked behind bit hidden darker. And as you can see. So I'm taking excellent darker paint using some water to spread this out diluted. And yeah, it's more than orange in the painting, but at sub k in lots of puppies are red. And this darker RED tone, this is folding over. Folding over and just trying some dark part. And then I'll just start with a big boat. Brush strokes here to this one, n, Let It Bleed. Also. I will wait a bit until I'll add the centers. So for the moment, that's fine with me. Maybe some here, darker red. And there's just this little speckles of colors of color at this little bit crumbled. And so you can see I use the reference, but I don't stick to it a 100%. So I use it for the shapes, for the, for the colors, and then I just let the flower have its own way. Okay, here's some more ham. Still very wet. And if I look from the side and see how it's still wet, so I'll wait a bit and come to this one down here. Let's take some of this orange and this shape. A little bit like a bell. And here, I think I would just add some green. We have no greenery at this point. So let's take some olive green rights are quite grids. The greens are quite light here. And also some should trues. Cleaning, brush, diving at a pit on the paper and pen. Let's see, take some. And they often have these interesting shaped and moving stems. An odd angles such as try one. I usually like to do it quite quickly to have the motion here and just let it come. And excellent are correct. Leads a bit together. But you can see this is where it's joining. So just to sum more, dark down here, then they also have these vanes. If I put it in now it will probably bleed but I'll do some. Yeah. Okay. Good. That's this one. And why not add a little bit of green here, the stems just coming out. That's what change. Let's take some darker. He said, again, just intuitively mixing my colors during these quick stems. And here also very painterly leave. They usually quite jagged edges form just so similar to her and to serve. These leaves, dark here. And then you have lightly fear. Thinning my brush, taking sunlight of color. Yeah. Just doing some strokes with a side of my brush. Letting this be lighter so there will be more leaves later on. But this is like for the moment I think, I mean, some darker here. It's meat. So okay, let's clean the brush and have a look here at this puppy. And think, I'm going to be brave now. And using some of green to indicate this, center. Seats already quit dry so it doesn't lead. And not much detail, just some movement. And then they have these pollen and some, some black mixed with some lead down here. I have left over, so I'm not taking a total black, but it's bit mixed with the red. It's a woman black component, just a little bit of the 0s in some areas at dryer. And then there's some pleads which is nice contrast. Yes. Just leave it like this for the moment. Here we also leads quite more, but this can add up really painterly touch to your painting. See how different it is when it's dry or not. Okay. And then also some some green here on the center. Just an indication of bleeding. I like it so it's all reading together here. And sometimes I just like to depth at some paper and come back later and see how this one book. Okay. What can we do? Maybe at some, some orange, gets quite dirty, but just leave it like this. It's all experimentation. You see what happens and this will stay like this. And then we might add some more dark on top. So we have this, this here opening like this. We have this here, down here. And then there's some more up here, are really open. Take some orange. Lets see how real. Some orange. Let's see how we can pretend to paint this thing. I'm darker side of the brush. Doing too much hair, loose, painterly, and looks like a little unknown flying objects appear. The agreement. Lighter center here, and then some, some statements around it. So now I'm letting blade on purpose will look different when it's dry anyways. So just putting some little dots here. You see here it has really like lead. What am I doing just like this? So you can control it a little bit, but not too much. But that's financed the how this is all bleeding out. We'll see what we can do about this. And then again, another stem, which is going to be, I can this angle. Maybe we decide to come down here. And little things going from all sides stems not to this treads some interest. And then you can have your source of this part here. X1 dark green and just added and a painterly way, dark down here. So it still reads as a pot. And there's more leaves. And while I'm at it, why not have some more of these? And this is very loose manner. And there's also another opening here, opening pot. So I think I'll start with the red, because when I started with the stem, I often don't get the movement, the proportion right here, inside some yellow. And then I'll just go for the green and collated together. Bit here. Then it come. You see it's OK, move it touching it. It's a totally different place than in the, and the reference. Just build my painting and see and still looks okay, kind of stems and green ranges. Let's just pretend and put some here. And this is not even from the puppies, but more some kind of grain I think. But it's some interesting contrasts to have these petals and then this, these wispy. It leaves here, just this. Okay. So let's have a look here. When we are in this painting. We see what we still can't do. This still leading happening and drying. And this is where we started. And yeah, let's put some more dark red here wherever they like meat. And maybe also that bit of strokes here indicate the waning. Going. Just a little bit of detail into it. And maybe I don't want to act too much to it. Just what I feel should be added as you can read it, right? And there's also some, again, these darker parts here. This is staying a light here. Maybe some churning of the leave a better, more red to definite line. So I'm just putting some water into it and it's still too wet to add more of them, the pollen. So I'll just leave it like this, maybe taking some darker red and also adding a bit of this folding leaf here. So there's a little shadow where it's overlapping. And I think I painted too big. So the leaf gets smaller. But this should be about right. So remember, it's looms, you still close and here a while what's happening? Too much water. So yours will look totally different at this point. And if I would print it the second time, it would look totally different to so just let this dry a bit and just taking a little bit more of a dark green, Django green mixing each here. I don't want to chew jangly. So maybe I'm going to put this green and adding a bit more dark spots here. So this just believes such as the suggestion, there's not so much that just frame the the poppies in their dance here. Okay, so what I've put some more details here like it, that it's all those here. And yeah, what happens if you just put some some more dark spots here? So a bit of bleed, tapping the brush, cleaning it, taking some of the darker hair, darker green, center. Okay. And I don't like too much these lines here. Just soften them. Clean brush. Okay. Good. All lose all flowy here. And as I have some bleeding, but you see there's also some more definition here. That's nice. And you can see that these are poppies. And it's nice that you have the different opening stages here. This looks like a painting actually, but it's so, so very frilly poppy. One is tucked behind the darker this risk, like facing down upwards some pots. So there's all at some interest to your, to your poppy painting. And then I'll just try to go in the darker green, some definition here of the center. And what if I just some more pollen now? Looks a little bit wet, but I'm just doing it. Okay. And it still reads as ad ad as what it is. So you can always leave that dry for awhile. And then maybe at some more dry dots, so leave it as it is. And yeah, I will let it dry. And then I'll have a closer look at it. So this is mostly dry now there are still some areas but that's fine. And I'll just have one closer look. Maybe add a little bit at tiny touch of detail. I don't want to add too much because I like it depended in one go. And like in Chinese brush painting. So you want that the energy, your life energy, the HSI flow through it. And That's what I'd like. Maybe it's just an excuse to I don't pay so detailed. And yes. So this is mostly dry here. And I like how this is just all flowy and flowing together and this is fine. So just maybe I don't know, this, just leave. I would just like to add a tiny bit of shade here. Just a bit maybe here. So this is just minor things. Little bit here. So I'm just adding like the finalizing details and this is all flowing together maybe, and just put this down here. So still looks like the center. So it's just a little contrast to everything that is very loose here. To have a little bit of more detail. Maybe some on top here. Cuz I have the experience when you just start fiddling, fidgeting too much here, then it loses some of its spontaneity. Little details can be a nice contrast to all the, all the loose stuff happening. But then too much. I don't want to change it too much. And what I think is this is tucked behind and this is still very light, this areas or also only white scan B, the light bouncing off. And I think I'll just add a touch of darkness. Maybe this looks terrible. We'll see when I do this, so that you have the feeling that this flower is tucked behind this. It's going to be the edge of the other one. To be a bit carefully at this later on to not make it look like it was added later. So they can just some water and it's spread out a bit. Also, I don't want to lose this split here that drives beautifully. So just an indication that it's behind, tucked behind. Yeah, but it's not too bad. And maybe some some veins. There's not too many veins visible in the, in the painting. But also this can be a little contrast to older, free-flowing areas we having here. Too much. Let's have a look here. And I think I will just leave it as it is now.
4. Painting Roses: Let's paint roses. Now I've chosen this reference picture by a pulled along plate. As you assume he is a French painter. Lift like at the same time like Katherine Klein, middle of 19th century and then middle of 20th century. And Katherine Klein was in Germany, he was in France. And then later emigrated to the US, lived in Hollywood, had a huge garden, and then went back to France, I guess. And he was self-taught. And I've chosen this reference painting to Rose's, one facing down, one up, lots of leaves. But it's also interesting because often they come in like groups of three or five. We have a look at doses. They often mostly grow like this, oval shapes, but they also can be longer or around. But this is quite an standard leaf for roses, but there are so many varieties. And this is just one I've chosen. Okay, let's take this to the side. And you see we have pinks here. This yellow is also dipped in pink at the edges. And we'll see lots of people struggle with roses because they can be intimidating with all beliefs and petals, especially petals. And again, just do those interpretation of that. Nobody's oh, you still have some yellow. Mean, I might need a little pink. I am taking here. Any pink will do. I think I'll take on how pinwheels and maybe some eyes pink, which is the lighter one. Then again, take what you find, what you have. And maybe also most rose. They all were pigment it and strong. And I'd like to mix them up with what's on my palate. Yeah. Let's start with this one here facing down. And you see the center is really dark. And do that too. Maybe not with grey or black or maybe some darker red here. And then just do an indication of that, like this. The center. Then there's so many leaves. How can we paint them? Just add some water to my brush and just start making this C-like shapes and some water. And maybe do this big one, some yellow. Paint this with a side of the brush with the same direction as it is growing. So I wouldn't put it like this. So I have something coming here. So this is intersecting. So we'll never be able to paint every petal here. Even though this is already like an abstracted rose by double play. And just do a couple of strokes to have this basic, basic shape here. And then again, where they meet, it's always kind of darker. Darker. Just let it flow in half. This splitting effect, so beautiful with the water color. Every watercolor paper will behave differently at some more dark here. And then I will just clean my brush more water and still some paint on it and try these leaves that are here around. Lots of paint's still on it. And also add some yellow here. Maybe a bit of a darker. So let it bleed, let it bleed. Water color, habits way. Don't be afraid. It's just water and paper and paint. What is so scary about this? Just because we wanted to look, ride home. Looking at the reference, trying to get the shapes kind of ride and the lights and the darks. Still staying loose. This is also something I have to tell yourself, Bree, don't get too fuzzy about certain areas. Just stay loose. Don't hold the brush like this. Like a magical should be fun, shouldn't it? To make it round? Led to water color habits. It's big moments and there's also one behind him. This is one tucked behind here, so you just do it like this. Okay? And then this sum here, be a bit darker. You see actually it's my Latin, much lighter here. So I'll just step it. See what happens. This can also be a nice trick because if it dries, it has quite a nice texture. Texture it will be like and leave is like light is coming through. So I can also do it on purpose. It's to some more. Let's have fun. It's all about fun. And this can still be a bit darker. I'm afraid you're used to black here. Mix it with a red, maybe this will help just a little bit. Okay, so that's one rows for the moment. Let's see how, how much we can add to this. And this is good. I don't know. We'll just proceed to some leaves. You see the, the stems. They're not green, dark. And a little bit red. Proposal goes off here. So if you mix like the red and the green, You have a beautiful color coming here. Just now there'll be another one. I'm not sure whether this will lead to the rows, but I'm just doing it for the moment. You can add thorns often, you don't see them in paintings. So just bit, so not as large as these are indication and need some darker green. I have this jungle Green has dilemma pellet mixed a bit. And stem going here. Then for the leaves, pink like one side and then some, some light at the other side. So just trying to get the shape right here. This is like folding back. On coming here. I need some more dark green going over the stem. Not problem. That if be see-through. And this is very bright, Dwell like this, to mute that down a bit. So you see, I'm thinking while I painted, I'm making my decision as I go. Don't do a pencil sketch before that. I just let it happen. While I paint. That's how I like it, so that it grows naturally. I'll painting as an exploration, trying to get a bit into the artist's mind who painted this, but also giving it my own twist and jabbing, thankful that I have this beautiful reference. Somebody probably took hours to paint this. And then just doing a loose interpretation in moments would be nice. Actually, there's no leaf here. But to ground this rose a little bit more interesting. I can leave here. And it's tucked behind. Also. Put some dark here. So with the leaves, just be loose and just painting them on a freeway and also allowed when they still touch the the rows and there's bleeds L. Let's do some more. Even though it looks a bit different in the reference on just to one, just to have the splitting effect. Well, we still have it or is it too late? Just a bit. Okay. So you see bleeding happening? I loved that in the brush. And proceed to the upper rows, which is much more pink. This is already quite pink. Taking some of my pink and I'd like to start at the center. Again, just doing little strokes. And I will not get every angle right here in the reference picture. Just tried to catch the overall shape. The way them, the leaves at the petals. Like a centered around o, forming around the center. And I like to use different color tones. Cho, indicate widths here where the light is falling, what's behind? And yes, this compact center here. And then it shows more from the side. I'll clean my brush and just let it float in for the moment. Here. Yeah, don't be afraid. We often think we know what a rose looks like. And then tried to paint it and it's a bit different. So this has to be a little bit darker as it is tucked behind. And you see actually it would be more tucked behind behind this petal. This didn't add up. No problem at all. I'm trying to get tes here. And also here. Ten looks strange this angle. See how we're going to have this. Because this is so angular. Some things can look strange a bit. And again, lots of comfortably it's happening. Which is of k. And this step, this puppet and yellow, why not debit a bit? Let's see what it'll look like later. Dubbing, adding again. And also Michael hits meeting, it's dark, total, bleed together at the moment. And you see this shape is not quite right like here in the painting. By long pray. I'll just go with it. Maybe. This is the bottom end. Let's add some here. And it's competing with this one. This angle is difficult. So maybe just pretend this petals around the centre and add some leaps next, consume greens. And this leaves here and just reading it and I will let it, let it flow together. In this case, there's no, no petal. I'm going to pretend this leaf here, like in the painting. And the stem goes like this. We have this already. I'm just adding some for fun at this bleed here. How often? Say bleed, but that is what I like. So I'm just adding this freestyle. And you see this is o bleeding together and just in forming some abstract leaf petal, I mean. And it's okay, it's okay to let it dry for awhile. And just thinking out loud again, just add more heat at the centers. Shows that the Center is up here. Give it a little bit more direction. Looking at it. Seeing what happens if this alone for a while. Let's add another of these leaves here. And it's dark middle. Here. We have these three at the same time. And unlike when there's still some pigment of the red here on my brush. So it makes us with the green and also the ties of ties together the painting quite nicely. My opinion. And again, look at the reference, but then also see what your inner feeling gives you what you would like to add. In some places, what nod, so that it becomes something in its own right and not a copy. This is your starting point. And you just see where you go from there. So MOOC, jack queen. Mixing. So while it's still wet, adding some. And I call this is pleading. Yeah, this is nice. And you see there's also these that are about to open. And I don't want to add all four. Maybe I'll add one or two here. But before this, I think this looks empty in a way. And I would like to put a little bit leave him stems and maybe some dark here. So you see me thinking out loud, seeing how my process is and all this develop, developing why I paint. Nothing is set in stone. And I wanted this to be darker. You know, my eyes here, here, again here. But this has all like bled out. But I can add stir some darkness there, later, some shade and now for some opening, right? Let's do two. It will again lead with the Green. And I want this lesson just adding bit here pair. Even sure folks like an the painting freestyle rose, but it would also be beneficial to put a leaf here. This looks like in the reference, but in a way it's fun. Good. So this is starting to develop in its own right. So we will look at it. You can do a lot. You can, you could add layers and layers of details. Or maybe just a bit here. The strokes that tell you that this was actually the rows. But not too much. I don't want to leave a lose, lose quality. I just wanted to add a little bit of detail here. Just like a suggestion. I want all the color bleeds and all that. I wanted to happen. Ok. So this is still quite wet. I like that it's bleeding. It's a dream. You don't really know what it is. But it makes this angle and a little bit softer we have here. And it's nice house pleading and see how this, where adapt the paper, how this has become, this leaf is bleeding into that flower. Let's see what else we can do. And like how this is pleading together. And it's all just suggestive here. And yours will look probably totally different. Fugal it loosely. And yeah, maybe I should try to get one right here. That looks a bit more like in the reference abstracted freestyle thing. This can dry. I'll just try my bass. A little bit. Subdued tone. Let's make a third one. Pet here. Point to the beginning, and then comes the green. And it's also point t. If you try too hard, you know, it's a very thick brush. Well, I did this. Maybe I'll just give it another girl who also very much water on my brush. So this is just coming here. If you wanted like a botanical replica, This is not the class for you. But if you want to have fun and just see what happens, you might like this free approach to painting. Good, good, good, good. Still different. But I tried. I tried. And let's see, this is a little bit more detailed. You see, you could imagine these leaves are like folding opening. And I don't know if it's too early to add to this center. I'm just trying. Maybe with a violet C, mix it. So Tripitaka. In the end, everything you mixed becomes quite buddy if you put the colors together and had a tail. And who plead again a bit. These lines here. Not too much detail and adding, just leaving a lot to it, to speculation and interpretation and let your eye and the mind to the work of these ones. And this has become quite a mess life, my bad, where tried too hard. Time. Typing can be a solution. To just let it disappear and become a little more, more dreamy. And you can always add more detail to the leaves, to the flowers. But I am letting it be at this very moment by moment.
5. Painting Peonies: Let's paint the third flower, the peony, the most beautiful of them all. And probably also the most difficult because as you can see, an onboard so many petals or frilly. Quite a challenge to paint all the highlights, darkness, low lights, all that. And we'll just make it easy on ourselves this time. And paint something a little bit more easier. This here. You from behind. So you don't see all the petals, you don't see the center. But also, but still beautiful by ozone. Who lived, I think, a 100 years earlier than Katherine Klein and didn't all play. And he was very famous botanical painter. And lots of books I'll show you later on. And yeah, this is our reference for the next painting. Let's have a look. We need pinks, We still have enough on the pellet. You need greens and leaves a little bit different or not different from roses. You see they are finger-like. Also also have this drooping quality. And we'll try once. So let's take the brush that's take some, this is quite muted here. And let's try our luck. Some brush strokes again in the direction they Grove. Oh, okay. First petal already wall has to be pointed out, but this is usually every painting I started think No, no, we're gonna work out. Then you just push through and make it work in a way. Because there is no undo button. If you pin digitally. And making this, trying to make this work is part of the beauty. Hand painted. It has your own quality of your energy. And let's just do it like this. We can clean the brush. I just would like some column merging here. For this petal pigment here. Then they move in this direction. And if you paint in the direction, the growing here, you get the angle right and the feeling right. So it looks more 3D. And know where they touch. We've had this before. There's more darkness and shade. And there's one behind that. So let watercolor play. Let's have a good time, have a good time with it. And GI And already at this stage, I'm going to add some green knowing that it will merge together and want to take that. Okay. If I'm gonna do this folded over leave or try though it will look different at some hair. So not as detailed as what we did it to save lives. And it has a stem. And like to do that fast. And some of these drooping, finger-like leaves, I would like to get more light. Green mixing as you see, always mixing. And yeah, I cannot do the plan my colors, but I'm also, I also like the answer surprises here, there. The existence, the magic that will happen if you cannot control everything you do. Django Green. Yeah, I want these merging colors here. This is what makes water colors so beautiful for me. That little magic that happens. We cannot control beauty in nature. Okay? Oh, really? During the leaves now here, this could be a little bit more bluish. Maybe take some Slate, green, light blue, actually, making it greener and come down here. Also, not so much about the detail in the leaves are like this color changing happening. Just let it flow. Okay, you see lots of drying habitat had happened here, lots of flowing. Looking good to me. Let's see those other petals behind. Just take little bit of darker. Cuz I don't know, maybe I'll add this later. Let's take some water. We have to sleep. Then we have this one. I'm trying to get the edge a little bit uneven as it is here. Coming down here. And helped us try enough, just dipping a little white border. And dropping in some of the darker color where it's behind the other petal. Still letting it out here. Same here to the shape. Bring it down here. Take some darker paint with muddy. Let it happen. It's also maintained. Then let this be a flow you want. So you could spend hours painting your P90, not just do this easier one. And the next course, you do it more complex. K, This is actually more to the side, maybe just It's getting muddy here. Let's take something fresh, surmise pink. Clean brush could help. And just make up only if it is not really here, but which will make it the shape a bit nicer. Tucked behind, just indicating it here. Darker. Have pretending I as a leaf here. Maybe one of leading. Now it's a bit of a bit. And I'm adding more, making up a flower that is not there. And here I have to be careful that it doesn't look like it's now frontal. I still wanted to look at the view from behind. Just just a bit more. Middle parting here. Darker where it would be behind. Other petal. Still we have a bit of silliness here to Alice dry and we'll see how this will look later on. I'm always saying there isn't doing something else. Oh, yeah. We can leave here. All merge together as one that's coming down here. Like this. What has happened to these leaves? Let's have a look. Just maybe had a little center vein, which will still match a bit late, which we can add here. So again, hardly any method to my madness. Hope you can follow along. Better do your own thing. Maybe watch this and later on to try in your own style. I'm forever making this app, some S1 we would, should, should do this this bad. And I'll be more successful with this one. So yes, this round shape. And it's a bit darker here. By default. Thickness dr for awhile. Missing everything up. Just some more here. It's still wet to have this feeling that it's behind. So this is very airy. Maybe lose every breezy. I think he took so much time to pick this. And I'm just messing it up in a way. Comes to paper towel again. To see what this will do. Adding pigment, taking some away, maybe even to appear to make it real. Light. Could be fun. So I have not planned this. This is all just happening while I paint and show you. Actually, I've never painted this one before. The first step of paint this painting. I just wanted to be really thrilling for me. No safety net while I'm painting this for you with you. A bit more. Dark here where it's tucked behind and meeting but not too much sand should not be two distinct. Compared to everything else. And I liked that these blades are beautiful. And they also look a bit like the pebble going with the flow. Okay. Yes. And now let's go back to that. But but not my best friend. I'm trying and trying. Okay. Let's see what happens if we add this here. Trying to do in the direction growth. It will be leading, I know. And add some more care. And there's this olive green leaf coming out, breathing down and one up here. So as everything so those I don't want it to be too tight and focused, trying to stay those in my hand and my risk in my mind. So much more than painting. Sometimes think what I do here, what we do. And there's stem here, meeting here, fine with me. Maybe just see where it would go. And also take more of the dark state. And that will generate again. Putting some hear, some leaf also meeting here, no problem. And then just to make one more here as it is in the reference, much lighter. So it fits merging in the background. And a bit of merging is nice. Not too much place here. I'm getting silly. The third one, usually the first painting, still very focused. Then I'm getting silly here. But maybe it's also good. You don't take yourself too seriously. You're more open to happy accidents. And this is not too bad. Just maybe I'm not brave enough for little bit more to have any left. Not so much. Lead out. Indicate this one. Let's have a look at this one, which is really very, very quick and airy and Lowe's. And I'll leave it as it is.
6. Bonus: Botanical Books: As a little bonus and for some inspiration, I would like to show you some of my vintage botanical illustration books. I have too many would be a pity if they never saw the light of day. And here is the book of flowers by Joan PLA rotate. We painted their penis from the whole book by touching. And the whole book is inspiration galore. Just leafing through quickly. So you see more roses here. Nice. And more and more. A whole book of his is just dedicated to roses. So there's lots of roses to pain from also a bit about cultural history. Irena's about the time he lived in when he painted for their for the queen. And yeah, I think we have this on the Pinterest board here. There's also beautiful PD picture. That's him. That's this book. Then there's flora by the Natural History Museum in London. And there's lots of botanical reference in there. And I just picked the chapters that are relevant to us, like paintings we have here from their collection. And this roses is a beautiful one via twining. Come back to her in the next class. Moses. And they are varieties and it's poppies. And she painted also in different styles. Whether it be nice to pain to hear this one also. So we have this and from the same Museum is this little collection here, postcards, floor collections. So there's also radio de again. And yeah, I think we just saw that in the book system. And there's also, a lot of them are also in the book, but then they're also different ones. And each one could become something. You could paint these postcards. And the last one is this one here. The green floor legend thing. This is also the oldest illustrations from the 17th century. It is, I guess. And, and that's really heavy. So a lot of it is tulips because there were let's not us here from here on. There's lots of tulips because there were so in fashion at that time. George tubes, tubes, tulips. And I think it also comes in the order they grow. Tulips. There's also lots of Iris. Just imagine painted these without photographs and lots of time. Either art supplies in these days, wilting flowers. And there's also roses here. I just wanted to show you poppies. That's this one. I hope you inspired.
7. Thank you and More to come!: Thank you very much for taking my class and I hope you have some beautiful lose modern puppies, roses in P90 paintings. Now by aside, this is part one of my botanical vintage series. And in part two, we're going to paint even more complex, more interesting floral compositions. And I just can't wait to do that with you until then. Happy creating and see you soon guys. Bye.
Cathrin Gressieker, Artist and Textile Designer
