Naïve Doodles | Contemporary Florals In Gouache Or Watercolor

1. Welcome!: Hi, there. I'm Holly and a huge welcome to my new followers. For those of you who have been supporting me for a while, hi. It's so nice to see you again. I've got something to share with you today that I'm hoping you're going to really enjoy. I've ascribed this as a suitable for all category, as I do cover some gouache fundamentals with plenty of preliminary practice, but it's also suited to intermediate level students who can just choose to do the project part. Of for seasoned artists who fancy trying something different to their usual style. So we'll be grabbing our brightest colors for this riot of naive style florals. I'll be taking you through materials. How to use watercolor instead of gouache. Practice runs with our florals before bringing all of our favorite flowers into our class project. I've designed this class for those of you who may need regular breaks. Because of the style of painting, we can leave at any point and come back to it when you're ready to add more motifs. Or you can come along with me for the whole class all in one go. It's also great for gathering floral motifs you to embrace as your own. And for those of you who want to transition from watercolor to gouache, as you can use either of these mediums to create your florals, or you could use both. So we're working with balance today using the placement of color, size, shape, and depth. For example, we'll be using a pastel wash background, then layers of bright flowers. We'll also be using flat layers. Then as we go along, begin to use thicker paint. Other balancing component will be our use of complimentary colors, primary blue, yellow and red with secondary orange, violet, and green. Placing complimentary colors in a relaxed way can heighten each color's vibrancy and presence. And once we've placed all our lovely florals down, we're going to have a doodle session. And my aim, as always, is to provide classes which are informative, relaxing, and fun. So before we move on, let me show you how you can share your class project. Underneath the class, you'll see an area called Projects and Resources. And on the right, submit project. It's a lovely way of feeling connected, accessing like minded people, showcasing your work, getting feedback and sharing tips. For my deaf and hard of hearing students, you can access subtitles. Next, do the volume button under each lesson. So when you're ready, let's delve into our world of color and doodles. 2. Materials: Let me walk you through materials. I'm starting with Shin han gouache, and I have moss green 044, blue green 068, and cobalt violet hue, 113. It's the first time I'm using Shinhan, so I'm going to interchange them with other makes. This is cobalt teal blue by Daniel Smith, one of my favorites, Opera Pink, ultramarine blue. That's a lovely, gorgeous blue for mixing. You can't see underneath all of the paint, but this is handsy yellow deep. And Pyl red. That's the Daniel Smith. And then I've just bought in some Winsor Newton gouache, and I'm using the white there. But I also tried out the Shinhan gouache 162. Then we have primary yellow, Windsor Newton. This is also a lovely mixing color. And then Bengal Rose, which I've not used before, and I've fallen in love with it. I think it's gorgeous. So that's paints. Let's have a look at brushes. Now, I use this size zero raven by Jackson's just for the initial wash layer. Any soft brush that you prefer for that. And then for the actual painting, I'm using size five. This is a memory point, and it's a pointed round brush. I then have two filberts. This is a size two, and it's from that very inexpensive set that I bought and I've mentioned before, by Master Touch. And then I have a size eight, and this is Royal and Langnickel, a filbert. Now, for pens, I have my pigma micron 01 in sepia. And I use Sepia probably, as you know, 'cause it's slightly more subtle than a black. And then a Signo white gel pen. I also picked up a couple of big pens in turquoise and pink. I wasn't sure about them really once I used them. I think they're colorful, but I probably wouldn't use them for a project like this again, but you probably have lots of different pens in your art supplies that you are used to using and know will be great for this. Here's my mechanical pencil, 0.7 by Faber Castle. And then I use two tombo pens. The first one is p757 and it's port red. That's a gorgeous color. And then we have 027 dark ochre. And again, I use the fiber tip end and last but not least the paper. And I used Hanamula harmony. Hanamul harmony, as you probably know, has a very silky surface. It's very hot pressed, is what I would describe it as. But you could use any of your normal watercolor paper. It could be cold pressed. You could decide to do this in a sketchbook. This class really suits any paper. It's size 21 by 29.7 centimeters, and it's 140 pounds. 3. Can I Use Watercolour?: So, can we use watercolor for this class? And I'm going to show you just how we can do that. So I'm going to use green gold, watercolor, and then bring in the gouache that I'm going to be using in class. And it says the Shinhan moss green. Then into the Shinhan moss green, I'm going to add Windsor New turn titanium white. And in the watercolor well, I'm going to add some titanium white watercolor. So I'm mixing this up with my size five round brush. And that's the gouache, adding a little bit of water. And then I'm just going to paint very quickly a clover leaf. That's the guase. And then let's mix up the watercolors. This is the green gold with titanium white. So mixing our watercolors with titanium white, which is designed to be opaque, leads us closer to a Guache look. And you see there's not much in it, really. And for this class, it's perfect. So let me show you with another color now. And I'm going to start off with these little scribbles. These are very cute flowers that we're going to be doing in our project. And then I have pyrole red, and that's the gouache. And then I don't have Pyle red in watercolor. So I'm just going to use Perlein. So that's Perlene red. And let's do the same as we did with the green and add firstly, our white gouache and then our white watercolor. I don't want to add too much white to this because we want to maintain a lovely ruby red. So there we have the Pyl red gouache. And let's see what that looks like. So let's do some now in the Perylene red watercolor. Mm hmm. So adding just touches of water. And you can see just in the well how there's not an incredible difference here between the guise and watercolur. And then let's do that same movement and see if we can see any difference between the two reds. Now, of course, they're slightly different in hue, just because one is pylin and the other is Pyl. But with small flowers like this, I think you really would be hard pressed to say which was which. So there's the watercolor. And let me just lay down the gouache next to that, when I had to paint there a little bit, so it's a bit runnier. So that's the gouache. So I'm just going to mix up now an orangy colour. And in the gouache, I have primary yellow, and I'm actually adding Bengal rose. Both of these interneutan colors. Any yellow and pink or red, and you'll get a lovely luscious orange. So that's cadmium yellow, watercolor. And then I have opera pink. All that lovely paint. I don't want it to go to waste. The watercolor might need a little bit of work getting going because it's a little drier. Let's start off with our gouache. So that's bengal rose and primary yellow. And I just wanted to add a little bit more yellow. Lush. That's a gorgeous color. And that's gone to way, so I'm just going to add a little bit more of the opera pink. So once again, this is the watercolor. So that's white gouache and then white watercolor. Adding a touch of white to the watercolor. A little touch of water. And then I'm going to show you a very simple motif, which is a rose. And then here's the watercolor. It's going down beautifully, and it's certainly opaque. So let me just add a tiny touch of white because I want to get closer to that lighter color that I've just done in the watercolor, just to allow you to see the difference if you feel there is any. So there we are next to the watercolor. Minuscule amount of difference. So laying them side by side there, and you can see not much difference at all. So I hope this has been helpful, not just for this class or my classes, but for other gouache classes on Skillshare. I hope it opens up quite a few classes that you would like to do, knowing that you can now do it in watercolor. 4. Practise | Pinnate & Clover Leaves | Peach Flowers: Let's practice our brush strokes, and I'm just going to run through the main ones and leave all the finishing touches to our project. So let's start off with this dark teal, which is blue green shin hand. I'm using my size eight fiilbet and I'm just going to use the neat paint, adding a touch of water to it. With these initial layers, we don't want the paint to be too thick. So I'm going to use this on its side, and we have done this move before in classes. So almost start the movement before we put the paint brush down to the page. Let's do it nice and slowly pushing down the brush and lifting to a tip. We can change direction a little bit and also vary the size. I so that's a quick and easy little leaf and motif. And now let's add some green. This is the moss green in hand. I'm going to add some primary yellow. I'm not going to focus too much on the paints because this is about the brush strokes, and I'll be taking you through different color mixes as we get on to our project. I'm now using my size five round brush. There's quite a lot of paint on my brush. It's quite clogged, so I'm just taking the main bits of paint off. And then I just want to claim back a little bit of control. We go in with a clogged brush when we're doing gouache, we can start to get furry edges, and it's not very precise. So I either wipe or I wash my brush, and then I go back into the paint. And all we're going to do here is create some simple triangular leaves. You can round the sides a little bit. I like this way of just working really slowly and mapping out the leaf shapes. It's kind of freeing. And, of course, I'm going to do a four leafed clover. And let's do a slightly smaller one over here. So just painting the outlines and then filling it in. That's a little bit too rounded, but I can go back in and correct. I mean, this is the beautiful thing about gouache. After using watercolor for most of my painting life, it's quite freeing to use gouache, especially for things like this where it's not about expressive movements per se. It's more about developing these lovely graphic, naive paintings of flowers and leaves. So just a couple of leaves for that one, I think. Got some lovely details that we can go back in and do on these leaves, so I can't wait to share that with you. My paint is quite tacky there, so when you notice that you have these kind of rough edges, it just means you maybe just need a tiny drop of water. So I have my opera pink or any choice of pink, and let's mix a yellow in with it. I'm using primary yellow, any pink, any yellow. And let's go back to our Filbert, give this a quick mix around. And you get this lovely bright orange and a touch of white. And you get this lovely peachy color. I really love peach at the moment. So with this move, we are actually going to use the shape of the brush. So we're going to place it down on the paper, spread it out, and then bring it up. And of course, it won't be a tip because it's a filbert. We'll get a blunt edge there in the middle. So let's try that again and just keep doing these around the page just to warm up. I do like filberts for petals. So let's try a flower now. Doing a little wiggle, as well, bringing it up into the center. Turn your page round, if you want. I'm going to do a five petaled flower. That's one. They have these little characters all of their own. You could do a half opened flour with the full brush in the middle and going up on the side of the brush for the two side petals. Although we're going through the brush strokes, it's also about a muscle warm up as well. 5. Practise | Roses & Retro Nasturtiums: One of my favorites now, very simple stylized roses. And I'm using Bengal rose, which is winter and Newton mixed with the peach, which we've just used. So I'm just going to make sure I've not got too much paint on my brush, get the excess off. And then let's do some sea curves. So like a comma. And then we start just beyond the top of that and bring that round. And then down again, just above that one and bring it round again. That is it. You can always just add tiny little lines which make it look a little bit more graphic. I used to overdo roses, and now I realize these anyway, are very, very simple. So two little commas. And then we're starting where that top one started off and pulling round another one. Tip, flare, and then bring it round, tip, flare and bring round. Let's just keep practicing those until we feel they're becoming more fluid. I just love doing them like this. And we can also add some detail to them, which will really bring them to life. They're just so pleasing to paint. I can always add a little circle in the center. So let's speed up a little bit and not care how they look. This is more just about the muscle memory. Let's do this really slowly. So starting just above the previous petal. Okay, let's speed up and do them really swiftly. So I'm not worrying about the shape here. Just encouraging a muscle memory. Another really quick one. I'm doing another very slow one here, and this is a rose bud, like yin and yang, two commas. So we're placing one scurf comma down, and then above the tip of that one starting another. And you can leave a little bit of white space or you can close it. We're going to be adding a bit of doodling detail, so we want to keep our motifs fairly simple and here very slowly. Spent way too long on the roses. That's just I enjoy them so much. Let's put some yellow down. And this time, let's mix it with red. So this is Pyrrole red and primary yellow. And that gives us a very different orange to the one with opera pink and primary yellow. I think it's gone a little too red, so I'm just going to add a bit more yellow. Luscious. I love these flowers. I'm so excited to share this. These are what I call my bobby flowers. I've seen this representation of this flower, which I see as nosturtium quite often, I think it has a very 1950s vibe, and it's perfect for this project. So sticking with my round brush and just really making a doughnut shape by wiggling the brush round, I like them to be slightly off center. To me, that's kind of part of their charm. I want to just see what they look like with a little bit more yellow. More nsttiam. Yeah, I like that color. That's lovely. Very, very sweet little flowers. The easiest flower to paint, I think, and they look so cute. So my paint's getting a little bit tacky there, so you can see the edges are a little rough. So just gonna make sure that everything's flowing a bit better. Painting as many as you like, seeing what shape you like, what color. This color just really warms my eyes. I just love looking at it. 6. Practise | Turquoise Flowers & Small Leaves: I so I'm going back to my cobalt teal blue. Such a lovely bright blue. And I'm going to just make that into a tint by adding white. Back to my size eight Philbert. Giving that a thorough wash. Delicious color. Delicious color. And we're going to do flowers just like the peachy ones. But I'm going to do a two stroke petal using the side of the fiilbet. Just moving my page around. You can, of course, do this with a round brush. And that's that. Y. So let's just practice that two stroke brush stroke again. Makes these lovely rounded petals. Let's do another flower. And we can always just do half open flowers as well. And and let's try it more slowly. The side of the fillbot allowing it to flare out completely. Lovely. I don't want these to be too perfect, so just want a bit of character, then we're going to add lots of details to them. So while we've got this out, let's add some more white. To make a very opaque tint. What we need to bear in mind is we want simple shapes at this stage, so it can go on to add a few layers and details. I've got my size to feel bit here, and that's more white than the cobalt teal. Lovely. There's a slight touch of green from my brush. It is quite easy for color to get kind of muddied, and I have two pots of water, and I'm trying to keep my brush clean between colors. So the side of the brush, and we can go over some of our motifs now to practice how we will do our class project. So all I'm doing there is placing the brush down and pulling it out a little bit more and then lifting it up. And the detail that we're going to do over that will really show up nicely, and it will balance the warm colors. So these leaves you might want to place close to warmer colors like these flowers. So trusting your brush here, place it down on the paper, pull it through slowly and then up. These are basic brush strokes which we actually take through other classes as well. So I try to do that so that we have a glossary of leaf and floral motifs. This color is so pretty. And doesn't that look nice next to that reddy pink? I'm just showing you a rocking movement, really. So starting the brush stroke before you hit the page. You can have them coming in more horizontally, and you can vary the size. 7. Practise | Forget-me-nots & Creamy Yellow Flowers: Okay, so back to ultramarine blue. I'm a little bit in love with ultramarine at the moment. It's such a true blue. And then we're adding some purple. The ultramarine is Daniel Smith and this purple is Shinhan. And this is such a lovely contrast to the turquoise leaves. And adding a little bit of purple just gives us some variation because we're going to be doing some forget me nots. So I just want to kind of make some mix some subtle blues purples so that we can vary some of the petals. So I know I keep saying that every motif is my favorite, but these are actually my favorites. I love these. Very simple little strokes with our size five round. So I bring the top one in, the second one in. The third one I tend to pull out as with the fourth. And the last one goes up as a little side sweep. That's just how I do, though. You probably have your own style for these little five petaled flowers. So don't feel you have to do exactly the same as me. Trusting the shape of the brush. For this last stroke, I tend to do a side sweep. So tip to the brush and then sideways a little bit with the brush. That's a bit faster one. The faster ones tend to have more character. The slower ones are a little bit more considered and formed beautifully. I like a little bit of a mix between the two, to be honest. I quite like little brush strokes and the way that the flowers come out, so they don't look as if they're directly facing you, but all sorts of different directions. So into this little purply mix, another trick with these flowers is just to place down a few petals at a time in the color that you have on your brush. I never can go back in and complete those flowers with the darker blue. It's just a little tip so you don't have to keep washing your brush or wiping a brush between each color. And another version of this is to place the flowers down, and then once that's dried, go in and add little highlights or shadows. We can do larger ones. Tiny little bud like flowers like they've just exploded into the world today. And practice, as you go along, going over some of the motifs underneath 'cause that's what we'll be doing in our class project. I like the randomness of these, as well. I think it's nice that they just go off on little tangents. These are our little V shaped buds, which we've done before as well in various classes. It's such a tiny detail, but to me, just brings it alive and look as if they're growing wild in some meadow. I want to bring in some nice creamy yellow flowers now. And this is a mix we used in briar rose. And it's my favorite yellow. It's a very well, it's almost an orange. This is hands yellow deep. Use any of your warm yellows. You could use new gamboge. And then adding some white to that. So the handsy yellow deep is Daniel Smith and the white Windsor Newton. If you've done some of my other classes, you'll know that some sort of magic happens when you add white to handsy yellow deep. I'll probably go on about this again in the class because I just absolutely love how adding white makes it even more vibrant. Usually white kind of, you know, not rubs something, but takes a little of the color away. But for some reason with handsy yellow deep, it's gonna shine through, no matter what you do to it. And this is such a simple buttery yellow mix. Just going to shape my brush a little bit. I do have a lot of penta my brush, but because I'm doing slightly larger flowers, I'm okay with that. So what we're doing here is just a larger version of the forget me nots. Exactly the same movement. So practising going over the turquoise flower there, pulling my brush through for a little longer to make these slightly larger flowers. If you find it easier with these flowers, you could draw a circle, just with some pencil and then bring in the flowers to that. We'll be covering the centers anyway, so it's not going to show up. So again, just seeing how this color looks and lies on top of that turquoise. I this is very thick gouache now because as we start to move through layers, we're going to slightly thicken our paint. If we're going with it slightly too watery, the underneath layers will show through topping up my paint there and wanting to try a deeper yellow. So you could do a mix of these two yellows and then just two little strokes denoting half open flowers. And that's our hands yellow deep flowers. A 8. Practise | Bell Flowers, Lime Leaves, Red Flowers & Doodles: Let's start to think about some purple. So I'm going to mix ultramarine blue with a purple hue using our round brush. Just going to mix those two colors together to form a purply blue. These are little bell shaped flowers, and I feel this is the easiest way to paint them. They're quite complex shapes. So these could be hairbells or even blue bells. And all we're doing is these three little strokes. You can maybe curve up the edge of one of the petals. So ultra simple. And do another one just down here. And then all I do is I paint little domes on the top of them. I think this is the easiest way. Very simple method. And because we've not mixed a tint with these two colors, this is going to lay on top of the previous layers. It's a nice bright color, which brings it forward even more. So seeing as we have this yellow down, why don't we add some green to that? Make a nice bright green. This is just the moss green with the handsome yellow deep and white. So I'm just preparing my brush because it was quite clogged and rolling my brush round so the tip is nice and sharp. And then I thought it might be nice to do some leaves very similar to the rose petals. Just two movements. I think it's also nice because we have the neat moss green for the clover leaves and then this lighter tint. And you can shape the direction of these, have them curving around one of the corners or in between motifs once we get to our project. I'm also just trying out what they look like over the other layers. Just practicing the paint to water ratio. Super easy to do a completely different shape to any of the other leaves that we have. So pyrol red, and this is a cute little doodle. I've been doing for the past year, really, just on and off. Super simple, super cute, little scribbles. You can make them into loops or just little scribbly lines in a V shape that can get larger to the bottom and smaller as we go up the little grouping. So I'm going back to my size two Philbert. I might just add a touch of white. Only a little really, just to make it sit with the rest of the painting. And then using a side of the filbert, we just pull in these tiny little florets. And I suppose I imagine when I'm painting them that they're scarlet pimpernels. So just to show you slowly, very similar to the leaf shapes and the Micoms daisies. And then quickly practice doing more scribbly ones. And I prefer these where I'm not really thinking about each petal. I'm just going in and doing a Just like a little impressionistic flower. And the reason why I like these so much is they're very small and easy to just dot around within the other flowers and leaves. And that's it. So pretty. So if we swap back for a minute, we might as well use this red to add details to some of the flowers that we already have painted. So I'm just adding some inner petals to that yellow flower. You might want to just add some shadow to your rosebuds. So I've got my Cigna gel pen. You could use a posca pen or any white pen that you have, and just go to add little details, and then we can add some little white lines to these leaves. So I've left them simple for this reason, really, knowing that we can go back in and add these little highlights. These are quite subtle details. But I like that we're going to have a variety of doodles, lines, circles, highlights, low lights, and pencil details. So just showing you closer up. I think I will add some stems in pencil. We need to bear in mind that it's going to be quite a busy class project, so not everything needs to shine, and some of these details can be quite simple and modest. If I used pen for these stems, I think it would take over the page a little too much. And I'm doing some little bow shapes at the base of some of these leaves. A 9. Practise | Gel Pen Doodles, Flower Centres: So I want to show you now a really cute detail on the clover leaves, and we're just going to go back to our white gel pen. And we can start to put in the little detail that clover leaves have, namely this white scribbly line. So you can do this by just moving up and down in a scribble or dot them in with singular movements. We're going to do a lot of the centers in our project, so that I'm not taking you through absolutely every step, the most important brush strokes. But whilst I have the yellow flowers there, let's just mix up a lovely deep teal green. And put some centers in here. Sometimes I like to switch it up a little, I put a full circle, sometimes just a sea curve. And then I also want to show you an alternative. This is a tomboPen brush pen end, and just making these tiny little dots. They really do suddenly bring those little flowers to life. And I love this deep red color next to the yellow. I so two alternatives there that we can use in our project. I really want to show you this little center detail with our white pen. And I'll do it on this one here. It's the sweetest little detail, and we'll just stand out a little bit like the clover leaves and just scribble all the way round the center. Now, of course, we can then go on to drop in some color in the middle of that flower, but I just wanted to show you this white gel pen detail. Isn't that sweet? We could do it on some of our blobbing strums, too. Might tap in a bit of color. Gonna also just try it on the yellow flowers that you've done and some of the orange flowers. I'm just going to do some leaves around the nasturtiums. So back to my moss green and my number five round brush. So I'm adding just like one drop really just to get it moving. It's quite thick, and I want to get the majority of the paint off my brush. And then let me show you over here first. We've done this move quite a few times, and it's like a side sweep. So we put the point down. Rather than bringing it in the direction of the brush, we're going to take it out to the left or downwards. For me, it's one of the loveliest ways of creating a leaf shape. There's just something really organic about it. We can move upwards with that movement as well. So you can see the difference there. Up and down, gorgeous movement. And you can do them more quickly. So rather than it being a tip, flare tip, kind of straight leaf shape, it's just slightly more irregular, and I love that about this move. I always find once I've done a few leaves that my brush point is usually in a good condition to do small details. I also know this brush very well, and it has a slight kind of lean to one side. So I know that if I turn my brush round, I'm going to get a finer line on one side than the other. So we can create some stems just by practicing using the tip of the brush only. I like to do stems quickly because I have shaky hands. So I just try those in different directions, and then we can add leaves to them. You could also lay down the leaves first. I was preparing my brush there by making sure it was in a point, want a nice, fine point and then add the stem. So, how about if we add those to our main et now? Just adding a touch of water to liven up the green, starting with the stem and then adding our leaves. So a mixture of the side sweep, two strokes. And I'm varying the size. I used to struggle a lot with stocks, and an alternative would be to use a dip pen or even one of your fiber tips or pigma micron. Let me just show you. This is a very old crusty nib. That's how I had paint my dip pen. By the way, I'd kind of tend to just do it that way, so I have control. I know how much paint I've put in. It's not going to overflow and blot. So just to show you very quickly, the alternative to doing these stems. Quite enjoyed that. I think I might do my stems with a dip pen again. And then I'm just adding these tiny little leaves in places over the flowers, just so they all seem to gel together. And I'm just showing you again the two strokes that I tend to use a lot. And then I sometimes like to put a leaf in that way so that it's not just a stem with leaves either side in a regimented way. I 10. Practise | Daisy/Bell Flower Centres & Rose Highlights: Let's go back to our Michael miss daisies. Putting down some primary yellow. This is a semi transparent gouache, and I probably ideally would have added a little white to it or used a more opaque yellow. But I did want it to lie flat as well as I want to add a little pen detail. So this is pretty much neat yellow. And now we're going to add little circles. And you can see that it's semi transparent because you can also note there the blue coming through. But that's okay because you can always put one layer down, wait for it to dry, you know, do something else, come back to it, add a few more dots, let that dry. Then we're going to do a little pen.in the middle of that just as you would find in Michelms daisies in the wild. Forgot one there. There we go. You're not forgotten. And then leave those, and we'll come back to them. I like jumping around from one thing to another. It kind of suits my brain and the way it works. So I think you'll enjoy that, too. You know, we can lay down a flower or leaf, let it dry whilst we do something else and then come back to it. A little more ultramarine blue. And we could go in just add some little detail tiny shadows. Or you could go in with just some white and do highlights or both. It suddenly brings those forward, though, doesn't it, adding that bright detail neat paint without the white. Back to my gel pen, and this is the minutest amount of pen on these little bell shaped flowers. But suddenly makes them more three D, rather than just being flat petals on a page. Suddenly, they look like bells. Tiny little scribbles or even dots, and they're done. So I'm putting some more opera pink down with white to make a nice light tint. I love opera pink for mixing because it also seems to retain its vibrancy. So opera pink and white is a winner. So shaping my brush, taking the excess paint off, just so we have that control. And then I'm going to go in and add some little details to our roses. Now, this second layer is a lot easier because we're just following the flow of the petals underneath on the inside edge of them. And three or four strokes with this color is all that's needed. So large sea curves and trying to keep it as fluid as possible. Added a pink center to that one. So one. Two, three, and four for that one. And again, by adding this layer, they start to move towards us more, so stand out from the page. That's what we're looking for now at this stage in our painting. It's incredible how sweet these little roses are and how much they capture the essence of a rose without too much detail, without trying to capture it in terms of correctness or botanical accuracy, elevating it to this graphic, naive painting. I love them, and I really enjoy painting this style of rose. And then for the buds, two tiny little sea curves. And that's it. You can move very quickly through those. To deep in the center of these, we could.in some of the tombo pen or any similar pen that you have in, like, a deep pink or a red or this Burgundigl Nice. These buds are looking a little lonely. So I think I might just add some sepals and a few leaves back to the green. And I won't take ages over this because we will be doing all of this in our project. So all I'm going to do really is like a V shape underneath these rose buds. Little curved green fronds sometimes over the bud. And then just tying them up with some stems. I always think it's nice when the leaves kind of just gently eclipse the flowers. So it gives you an idea of what we can do in our project with these roses. Love pink and green together. And, of course, there had to be roses in this project. I think they are my favorite flower. So you can see just how beautiful these look once we have given them some foliage. Although we have a great variety, really of flowers and leaves, a lot of them share the same brushstroke structure. 11. Practise | Doodles in Pen & Pencil, Blue Berries & Tiny Red Flowers: I so now let's pick up our 01 pigma micron. And then we're just going to do a little.in the center of the yellow, and suddenly we have our forget me nots. Isn't that cute? And yes, forgot my yellow there, but never mind. So pretty. I just wanted to show you these details that we can add to our orange bobby flowers. We'll probably add centers in our project, but I just want to focus on the pencil detail. This really kind of brings out the 1950s vibe, I think. And I've had it in mind to do these flowers. Probably for a couple of years, actually. I love kind of just simplifying flower shapes. Just looking over to share some final details with you. And this move, you will have seen me do quite a few times. And I'm moving to my Windsor Newton cool gray pen, and we can add these details to our light turquoise leaves. So it's either a line pulled down or a line going out. And I tend to put a little dot on the end. So just joining them all up now. And I don't feel the need to do details on every leaf. It's just cute to just tie them up with a little stem. And bring them together. I'd like to do some outlines on some of these petals with pencil. And again, I've chosen pencil because I don't want these flowers to take over now. We're trying to keep a harmony between all of the leaves and the different elements. So just gently going round, not pressing too hard and not on every petal. Just loosening up really with my pencil. I'm just going to wake up this ultramarine blue tint. I think there's just enough left for what I want to do. And again, we've done these before as well. Pretty sure we did this in winter doodles, and they're just vary shapes, sometimes the full circle, sometimes with a little white space in the middle. And also, you'll know that blue is very balancing, and I use it a lot as a way of just adding one more final cohesive element throughout the painting. So just adding these around scattered, overlapping or just sitting by elements. It's just a lovely way of allowing the eye to move around unimpeded in a very flow state. I either use this color or I use green as this balancing color. I just think adding tiny details like this, as well, it's very much my MO, as you know, but I also think that smaller details really allow the larger elements to come forward. I'm just adding another layer of white around the turquoise flowers there. Just seeing what the white gel pen looks like over that dark turquoise. I think because we only have this element in the red, talking about those tiny little scattering elements, I'd love to just do some very small red flowers here that we can.in amongst our elements to tie in with what I see as scarlet pimpernels. Brightening that up with a little yellow. That's more of an orange red. But neat. There's no white in it. And then we'll be really loosened up by now, so we can start to just scribble in little flowers, scribbles and dots. That's all they are. This was a lesson that I learnt from looking at other artists' work who did tiny organic elements like this, and I realized how simple they were. And I was just trying too hard in the past. And now I realized that a few scribbles and some pen Dytail in the middle can be more effective actually than spending ages over perfecting something. These flowers also are very balancing. I'm just doing one slowly here so you can see what I'm doing. I do tend to do these very swiftly. And I encourage you to really try to do that, too. They have a very different quality when we do them quickly and scribbly. And then I'm just going to.in some 01 pigma micron. Little dots, little scribbles, and that's it. How quick are these? So sometimes the easiest flowers to paint are the most effective. I really enjoy doing these as well. The berries, the finishing touches my favorite. Maybe a couple of loops on some of those. And I think it's time now to move on to our main project. We've done a lot there, and we've certainly warmed up there, I think, and have a good idea of which flowers we'd like to include. I 12. Class | Pastel Background: So I'm getting my small mop brush ready. And this is the Bengal Rose. I have primary yellow, Windsor and Newton white. I'm going to put a few dubs of white down. We're going to be using quite a lot of it. Shinhan moss green. Ultramarine blue, which is Daniel Smith. One of my favs, Cobalt's teal blue. So we start with the Bengal rose and mix some white into that. We're going to be doing a wash, so we want more water down at this stage, down later on. We don't want it too watery because we want that relationship between the layer on top and the background. So you can see, it's probably 60% pigment to 40 water. We want it to lay flat to give us a nice surface to paint on top, so not too pigmented so that we avoid any brush marks, but just enough for it to show through. That's a very simple one there, which is primary yellow, a little bit of white, and the pink mix. Taking some white over to the moss green. And this makes a lovely greeny tint. The foundation is pretty important. So what we're going for here is a flatter feel. So just as I've mentioned, more watered down than you would use for mos gouache paintings. But we're also utilizing pastel paints because pastels will stay in the background, and then the bright colours that we're going to be using will come forward even more. A little bit of yellow and a little bit of the white with tiny touch of the green. I'm just really experimenting at this stage and coming up with different tints. You could go with any color that you like. Back to the Bengal Rose with a bit of white in it. And so we'll merge a little bit if they're still wet. And that's okay. Little bit of yellow, little bit of pink, and some white. And then we reach the peachy side of pink. Ultramarine with a little primary yellow. And that's our background. 13. Class | Pinnate, Clover Leaves & Roses: Oh I'm going in with this gorgeous teal color which is the Shinhan blue green. So we'll just start off with a one color. I'm using the side of the filbert, and these are those swift movements that we practiced. And we've done in previous classes. Very simple once you've got the hang of it, I would say. Very swift and easy to do. They look very even as well because we're not shaping them and taking loads of time over them. We're allowing the brush to create the shape. I absolutely adore this color. Isn't that gorgeous? Now, this is the Shinhan, and it's good for this because we're still trying to achieve a fairly flat surface, not a massively thick area here. We're using the brush with enough water to get the gouache moving, but certainly not loaded down with paint on the brush. Some moss green, and I'm adding primary yellow. Give that a quick mix. It's just to brighten up that green. You could use any other green that you fancy. I chose this green, I think because it's a fairly grounding color, and we've got a lot of bright colours coming up. I just felt this green would balance things nicely for us. So I'm painting in a clover leaf here, very different to techniques that we've done in the past. It's almost like painting like a child again. Very gentle, restful, easy, and just taking on time. I thought these large green leaves would be lovely as a kind of a lush burst layer. You can reshape, which is an advantage with gouache, of course. And I'm going to do a slightly smaller one just over here. I'm taking the green right into the center. And again, I'm wanting to echo this green because I think it's going to be quite balancing. So creating another clover leaf over here. And, of course, I want them to be four leaf clovers. For look. Slightly smaller one there. I've got a lovely effect that we can add to this a little bit later with our white gel pen. I've picked up the opera pink now, adding a little bit of the primary yellow. I want to mix a lovely orangy colour. I've switched over to my size eight filbert, and that's a lovely deep orange. Getting the excess paint off my brush just so I have lots of control. And this is fairly thick, so I would say, 90% pigment, ten water. So just enough water for it to move around. It does take a little bit of practice with gouache to get the right consistency. And I'm adding some white to that just to really brighten that up. So we're using some paints neat, and others we're mixing. And this is also where the secondary colors come in. We've got the secondary color of green, and now we're going for the orange. All of these are so easy to do, so we are relying on the brush shape. For this flower rather than shaping it with a smaller brush. So we're placing the brush down, applying pressure and allowing it to fan out. Slight wiggle movement, if you want, and then into the center. I definitely want to echo this. So I'm mixing in just a little bit more white, and I'm using the brush on its side now a little bit of a wiggle and then into the center and lift. So we still get the orangey color, but it allows for slight variations, which is what will make this look like a wild kind of flurry bunder that will also fall back into the background with it being quite opaque and quite a lot of white in that. So some of these motifs will stay quite prominent, others will fall back. So just to bring in a different tint, I've added the Bengal rose to the orange mix. I'm just considering where I want to place these next flowers, and I want them near this dark teal. When I was doing practice runs, this was one thing that I really loved doing these very simple roses. Roses this way, are far simpler than we think. I realized I kept doing sea curves for ages after I needed to, and they lost shape and appeal. So what we're doing here is the two little comma moves, larger sea curves around the edges, and that's it. So it's like six strokes just as we practiced. And then we can add tiny little details if we want. So let's do some more small sea curve, one cradling that one. And all we're doing is just starting out with the edge of the last stroke. I don't know why these stumped me for so long. I think I was expecting them to be far more complicated than they actually are. So just the tip, flare and up again. So I'm just going to do one up here, and it's going to be a bud. Buds are very simple, the two sea curves that we practiced. And some buds here, a sea curve on one starting above it and curving round. And we can add some little details to those as we go along. Okay, so what next? I'm putting down some more opera pink and some white. I'm fast running out of my winter Newton white here, but let's see how we go. I kind of did that orange pink, and I liked them, but I really wanted to bring in some pink ones. So I'm going to embrace the opera pink and just do some next to this lovely moss green, and I really do love this color with these roses. Just upper pink and white. Can't go wrong, really. See curves, outer petals, sloping right down here so you can see again how we do these very simple strokes. I'm glad I did this pink now and some buds. I think I might do one here kind of spilling over the edge of the background. Love, love, love this color. Run out of color there, topping up. That's a little bit more vibrant. I'm happy with that, though. That's better. And rosebuds. We're making headway now. 14. Class | Retro Nasturtiums & Turquoise Flowers: And I am putting down more primary yellow. And this time, I'm going to make an orange with primary yellow and Pyle red. So we're kind of playing around with slightly different mixes in the secondary colours here, a little bit of white. And that's kind of lush, as well, just as our opera pink and yellow mix was different, and I like that. I'm continuing to use my size five round brush, and these are the simplest flowers that you could possibly ever paint I love them. We are just wiggling round in a kind of a wiggly circle, and that's all there is to them. I got some lovely details to share with you as we go along on these, brightening it up a little bit with more yellow. I love this color next to that dark teal. Now, we want to make sure that our paint is thick enough to go over that dark color. If it's not, and you can see the blue poking through, that's okay. Just allow it to dry, and then you can just add a little second layer to it. These remind me of 1950s motifs. I really love them. So cute. Creating a scattering of them. I love those two colors together. We're really starting to mix things up now and putting bright color extra bright color. Back to my cobaltiel blue and my fast disappearing M's renewa white. I'm going back to my size eight Philbert mixing up a tint with the white. I still want it to retain its deep color, though, so maybe a little bit more white, but not too much, cause I want these to be now sitting on top of the background. And then I'm just creating little brush strokes with the side of the filbert. I thought it might be nice just to add a little bit of texture, adding a lighter blue over the top. And it was okay, but I actually preferred it not as white. So that's slightly better. I just wanted a little bit of texture, but not for it to become too attention grabby. I love this vibrant color in my paintings. We've used it before in classes. So just tidying up that flower now. It was covering over the white. I wasn't keen on that. Down to my size two Filbert, creating a whiter tint and adding some lovely pale leaves here. I've done this on purpose because we can then go in and do some little details over the top. It gives us lots of scope. And I think I'll put another front over here using the side of the size two Philbert. So we're still working very much with composition here. Well, I've got this color on my brush, I'm going to go round and see if I want it somewhere else, and I really wanted it in that orange flower. Think orange and teal together gorgeous. So opera pink again, back to the pink. Just putting a little sea curve in that orange flower. 15. Class | Forget-me-nots & Yellow Flowers: Okay, so I'm adding a little bit more ultramarine blue and some white, and this is Shinhan white squash, just to give you an idea of how they look the different makes. I have a purple hue here, Shinhan, and I'm going to mix those two together. Take a little bit over there. I want to mix a slight variety of blues. So I've got a more purply blue. I've got the mid blue, and I'm just going to add some white there and mix in the blue that I just have on my brush. So we can dip in between the three just to create a little more character with our forget me nots. So I'm starting with the ultramarine and white mix. I'm doing those little five petaled flowers that we practiced. The way that I do these is I draw in some petals and some the other way inside to out. I just find that much easier, and I don't have to move my page around. And then maybe just a few tiny little petals on their own. Picking up some of the lighter blue. Just applying that over some of the petals. I'm trying to keep it random, so they just look like a natural cluster. And remember, we're doing fantasy flowers, so they don't need to look exactly like the flowers in real life. We're just taking them and creating the essence of them. These will look absolutely gorgeous once they have their centers. So that's one grouping, and I'd like to do some more over here. I don't want to get too neat. And by that, I mean, I want this to be like a riot of color and not as placed as the ditzis that we've done before. A little three petaled one. And we can, even at this early stage, start to think about layering. So just taking that little two petal flower over the green clover. There's only a little bit of difference between these three mixes of blue. It's quite subtle, but I really like it. Overall, we're just aiming to keep these first layers quite simple because we're going to be adding a lot of detail. So just bringing that one over the rose, bringing in a little bit more white. And I'm going to add some highlights and paint some petals in in this brighter white blue tint. And sometimes the way that I do that is just to paint a couple of petals and then go back in with a different color. It saves you having to wash your brush and pick up different paint, tidying the ones up that I've just done there. I love doing little vis, just suggesting little petals on the wind. So over here. So up in this green area, let's do some warmer colour, daisy shapes, I suppose, and I'm using my handsy yellow deep. A little bit of white. That's the Shin han. Now, when you mix handsy yellow deep with white, some sort of miracle happens because it goes so luscious and bright. So it keeps its deep quality, but it's also very joyful and vibrant. So I often use this mix, as you've probably seen in the past. It just makes a lovely, bright, creamy yellow, and it's as simple as that. If you don't have handsy yellow deep, you could try new gamboge. So here, what we're doing, as we've practiced, is a larger version, really, of the forget me not. And I'm just shaping it with my round brush. This class is very much a slower process than ones we've done before together. Very relaxing and just taking our time to shape each flower. It's kind of the opposite to expressive strokes. It's very considered. What I wanted to share with you here is that I did notice a big difference between the Shinhan and Windsor Newton. So, I found the Shinhan white, quite thin, and I didn't feel I could rely on it to make more opaque flowers. So that might be something you want to consider too. I do think it's worth buying either Daniel Smith or Windsor Newton White Guash. Both are very reliable. So I'm just going over there so that I can reach the opacity that I was looking for. I think for sure, the Shinhan is good for practice runs or to mix with wax, which I'm going to try, like the last class that we did together, the cold wax and guash. So just doing some little throwaway flowers up here, allowing them to taper up. Some over here just to echo that lovely buttery yellow. I love this yellow near that teal white blue and the dark teal. This is all about placing colors next to each other that are going to sing more because of their neighbors. I'm really enjoying that about this painting. So purposely now, just going over some of the motifs underneath. Building up some very gentle layers. I do adore this mix. And this yellow brightens up that section there, where it's a fairly metered tint underneath that, which I'm not overly keen on, but once it's got some flowers on it, it will look great. So I just wanted to bring in a larger flower here. I think I want to have various sizes of flour, just to daub little areas of this gorgeous yellow around. And another three petaled flower here. It's already looking really delightful. 16. Class | Bell Flowers, Lime Leaves & Wee Red Flowers: So I've had a little break. And now I'm adding the purple. I want to add some purple here before it gets a little too crowded. So ultramarine blue and purple. And I want to do these little hairbell shaped flowers. And all we're going to do is just three small brushstrokes. Again, kind of a very simple approach to painting these flowers which are quite complex in shape. I also haven't added white to this because I want some darker elements, more prominent elements. And because this is going over motifs, as well, we can use it quite thickly and more neatly, so not adding white to it. You can choose as you go along whether you want to go over a motif or under. So under, you would just truncate the brushstroke and just hide it behind. I want to just put some little throwaway flowers as well with this, keep it nice and loose and random, but still in a grouping. And then these little dome shapes on the top. They're so hard to paint, I think, anyway. Bluebells, hairbells. So this is how I'm doing them today, and it just makes it so much more enjoyable. I will keep these in my glossary of flower shapes. Some little throwaway shapes, as we've done in other classes. And then later on, we can add details. Rule of thumb for this really is anytime you have a color on your brush, always good to cast around and see if you want to add it to any other motif before you wash your brush. So I thought I might just add some details to the forget me nuts. The tiniest of details. And maybe over here too. Just the inside of the petals in places. That kind of brings them forward, as well. So what's bringing forward the flowers is the brightness of hue, but also the detail. More green. And I'm adding Cancellow deep just again to ring the changes a little bit between the greens. I still want it a tiny bit lighter. And trying to squeeze out the last of the white. That's better. That's what I wanted. So mixing slightly more muted colors with bright colours is a tactic that a lot of artists use, and it's another vehicle, really to showcase some of the brighter colors. It's there as a supporting act. So I'm just going to do these little curvy V shapes. So thinking about composition, we've got these muted green areas. The ones we've just done and are two areas of clover green. So I'm happy to bring this in because it is supporting the brighter colors. And we can also add some rose leaves. So I'm back with my round brush, but using it like we did to Filbert. A little bit of a stem there. This time pulling out, placing the brush down, fanning the brush out, and bringing it up to a tip. To stroke leaves. They really showcase these bright roses really nicely. Things are starting to happen now where we are now connecting the background to the layers on top. And this screen is very balancing. And definitely going over motifs now, really embracing those layers. And again, you can take your time, and the beauty of gouache is that you can correct mistakes, although there are no mistakes, but maybe places that you'd like to just jog up a little bit. I like going over the flower with some of these leaves. I just looks a little bit more organic and some little sepuls around the buds. And then in between flowers here, I think it would look nice. I'm turning my page around. I'm doing that a lot, actually, with this. It does make sure that your flowers aren't kind of going too far in one direction. It's very easy with paintings like this to get squashed flowers, so that's something just to watch out for. I wasn't happy with a couple of my flowers because I felt like they were more laterally biased than vertically, if that makes sense, a little bit squat. Okay, a little pause. I can see some spaces here, which I'd like to fill. And there's three areas in particular. So pyrol red, we need to be bold. I love these little flowers that I'm going to show you. We're just going to use a pen. It can be any pen. Could be pigma micron, a brush pen, pencil, whatever works for you. I'm going to do these little scribbles that we practiced and put them in amongst the flowers here in this space. So I'm grouping them so there's a larger grouping at the bottom, and then they taper up into the center of the painting, and they're slightly smaller. Again, very, very simple flowers like the orange, round, blobby flowers and incredibly effective and easy to do. So I just slightly off screen there, but all I'm doing is adding a touch of white to the pyrol red. And then just adding a tiny touch of the ultramarine blue and purple mix that we did earlier. Just deepens it a little bit, makes it more interesting. And then we're going to just dab in color. I'm using a side of my size too filbert. The more kind of abstract and simple these are, the more effective they are. Just little throwaway brush marks. I'm really enjoying this class because I do a lot of doodling, but I tend to doodle while I'm watching things on my laptop and they're just in bits of paper that are on my desk. It's nice now to bring these to a class because I've been doodling for years, and these are little things that I've learned along the way or that I've kind of created. So we've got an opportunity here when we're thinking of color theory between the green and red. So because green is opposite red on the color wheel, we can really utilize this red here. This primary red and secondary green are going to just zing off each other and really start to add some vibrancy. I think my eyes are dancing at the moment. And loving this red between that green and the dark teal, that's lovely. Aren't these sweet? Oder Slope can't wait to see yours and to see how you use this in the future as well in your work, these flowers? That's my hope from this class that you can adopt certain styles or color combinations, or the actual florals themselves and make it a part of your work. I Love that red, love, love, love. Okay, what next? So a little space here. I think we could perhaps do some here. And maybe over this kind of green here because I'm not keen on that background color. It's very dull. So I think doing some red over here would be really nice, given that the background's very opaque. It's very hard not to favor certain flowers. I want to keep it nice and loose and have an abundant choice of different florals and colors. But I love these red flowers. I can't stop painting them. I think because you can't really go far wrong, it's literally a scribble and a few dots of color. They look so fab. And that's really brightened up. What was a fairly, I'd say boring, but certainly not scintillating area there with the background, so I'm really pleased. Lovely. Okay. Do I want any more? Oh, while I'm here, I've got the red. I'm just going to add another layer to that orange flower there. It's all about placing color netra color, not thinking about it too much. If you wanted to bring in color theory, just thinking about the primaries and their complimentary color. 17. Class | Doodles & Small Turquoise Flowers: Cobalt teal blue. And I want a little white. And I want to add some turquoise flowers over here in the corner. If we look at the whole, you can see that we've got turquoise dotted around, and I wanted to place it in this particular setting, so it will add balance. I think you're gonna like these little flowers. So I'm thinking about the placement of warm and cool colors. So we have warm, cool, warm and fairly warm green here and the yellow, little red flowers. So I think it might be good to add a cooler color here. And you can see how they showcase each other. It's really lovely. Not forgetting my corner there. And I think also this would look nice next to the warm yellow flowers. One up here, maybe another one. These are going to look so cute. So I want to use my white gelpen and I'm just preparing it. Little scribbles of white on each leaflet. It's such a sweet little detail. And suddenly, you know what they are for sure. So I'm going to put some more of that blue green down. It's a dark teal. It's a really beautiful color. And a touch of white. It's got a little bit of red in there, but never mind. This makes it slightly deeper. And I want it a little bit lighter, more white, mixing it well. And then some little turquoise centers to our yellow flowers. I love this color with yellow. And I'm going to leave two, so I can do something different with them. So moving down to this little bouquet down here of yellow. And I'll leave one of the yellow flowers free to do something else. And while we're on the turquoise, I'm just going to drop in a center there. I want to do something with these other yellow flowers, and I'm going to get my tombo pen out. Such a simple center might put a few dots around these turquoise centers as well. I'm going to show you this really, really cute center. I love scribble movements. And I did this whilst I was in the class development stage, and I knew it was going to work so well. And why not some scribbles down here as well? I love that there's just one of those. And then we can do the same scribble movement with our 50s style bobby flowers. Minimal detailing. And I think I'll just leave that last one. There's not a lot of this green mixed, but I think I'll have enough. And I'm just going to add little plubby green shapes in the center of these. I just thought it would look nice next to that white pen. Cute. And whilst I've got green on my brush, I'm just going to go in and add some details to these yellow flowers. Green next to red again, which is lovely. This swan's got a little forgotten. Just add some seples and a little stem. Just going to add some of the moss green to our orange flowers. Just that very simple tip flare tip movement. And what that's doing really is establishing its place over the dark teal leaves underneath. I love those flowers now. I think they're my favorite. So I'm just going to dot some more yellow down. Primary yellow. We want this really thick. So it's almost neat. It's got the tiniest amount of water, and that looks lovely against that turquoise. And I think I'll do the same for this one over here, that kind of make the center larger. Suddenly, they look as if they've joined the party. So let's go back to our three petaled flowers. Going back to the purple. So a little three pronged sepals for these flowers. And again, I want to really switch it up, so I've chosen the purple against the turquoise. We really want to play with color. This also really turns them into those naive graphic flowers rather than realistic ones. Is that Oh, there's some here at the bottom. Might be nice now to go back over to our forget me nots. So primary yellow, neat yellow. No water. I can just kind of dab this in. I just adding tiny dots to the half open flowers. So once they're dry, we can go back in with some pen and just do little dots in the center. Whilst we're waiting for those to dry, let's go back to our roses. Just going to clean that well it had some watery paint in it and putting in some neat opera pink touch of white. And we want to go a little lighter than the pink that's down. Let's just see if that's white enough. Yeah, showing up. It's really sweet. So the same movements again, very minimal, little sea curves. We can follow what's there, so it's fairly relaxing. Don't forget our little buds. And I also want to put this pink down here. I think that looks particularly good because there's more of a difference in value there. So I'm really happy with those and the same here. I'm putting a bit of a paler mix on it's more of a white pink. Just wanted it to fall above the dark turquoise leaf. I think these are also my favorite flowers. Now I keep flitting about. I do like the orange bobby flowers, but the roses are so restful to do. And they really lend themselves well to this style. I love that they're all different, each grouping slightly different to each other. So I want to add a little bit of greenery here over the buds, very small sepals and leaves. I seem to forget those ones in the middle. Not left out now. So I wanted to show you these tiny little lines that we're going to add to the orange flowers. And I think it's in keeping with that kind of 50s look. Very minimal detail. And that's those finished. While I've got the pencil, I'm just going to quickly outline this orange flower. It's in the background, so I don't want to use pen because that will bring it forward even more. And we have those purple and yellow flowers overlapping. So using pencil allows it to stay in the background. Scat turquoise, big pen here. Gonna try that on this flower. Let's see what that looks like. And then a circle around the middle. I've got a pink bick pen here. And actually, over the turquoise, it kind of change his color. I really like that. Big pens aren't as graceful as using a pigma micron. But for something like this, I think it looks really joyful because this is a naive painting and it looks childlike. Having said that, though, I'm just going back to my winter in Newton, cool gray pen, which I am getting on with very well. I've used it for a couple of classes now I think this is my dare I say it signature move. I love little lines and a dot on top. I know some of you have that style as well. Doesn't have to be on every leaf for attempting to do that, but I'm going to leave a couple of leaves. I'm just pausing, having a look around. I just interchanging really between all the different pens, pencils, brushes. And because I love this technique so much, this little scribble movement. I'm going to put it in the middle of what's fast becoming our star flower. I think these two turquoise flowers are the stars. And I think I will do it on this one, as well. I think they look different enough because we have the orange one in between them, and we'll do some little white details as well around a page. I think the middle of the turquoise flower looks a little bit scrappy. I think it is the bit pen. So I'm just mixing some green and I'm going to change that. It will give me a chance to go over the bit pen and just tidy it up a little bit. And also means that it does now look different. It's got its own kind of character. So yeah, I'm happier with that. Mm. 18. Class | More Doodles! White Gel Pen & Pencil: So let's do a little more doodling. And I'm using my white Signo gel pen. If you have a Posca pen, that would be great too. I'm just going to add some lines, maybe just to one side of these leaves. I quite like how this soft green is allowing the other colors to shine. Adding the white to this leaf is just allowing it to pop a little bit more. I think that's it for those. Having a little thinkk. I just want to add some stems to these because they looked a little bit disparate. So I'm just using my pencil because I don't want it to be too overpowering. I got shaky hands today, so that line wasn't as I wanted it. That's a little bit better. Pencil is a really good friend to us when we're doodling, because you have a choice then to either mark it quite strongly with a pigma micron or similar or to have a more subtle detail. I often use both pencil and pen together just to add a little bit of variety. And why not add some cutesy little bows at the bottom of these? Some cutesy loops. Okay, white gelpen again. I love doing this. This is just the little scribbles that we're going to do around the clover leaves. I forgot these earlier, so I love this. I think that's up there as one of my favorite leaves to do. I find white gel pens a little bit unpredictable. So what I've learned really is to definitely start it going before you light on the page, but also not to press too deeply because it tends to score through the paint underneath. That's brought these to life. Just those very simple scribbles. I love that. I have some up here. Lovely. Taking time to pause. I'm going to do another scribble movement using my gray Windsor Newton pen. So like the other orange flower, but a deeper scribble this time. Just like we did with the small red flowers. Now I have my pigma micron and adding those tiny little black dots, where, in this case, I think it's Sepia into the center of the forget me nots. Just make sure I'm getting them all. I think this is certainly one of my favorite flowers to paint. We've done them before in the past, and I certainly will always have these in my mind, because I love forget me nots. They're also so easy to do those five little brush strokes, a dot of yellow, and a small.in the center. Let's do some more elongated leaves around the purple flowers. So I think I'll stick with the green we have two main areas of this moss green. So I want to just add little pockets of that on the page, just so we have it echoed. So let's mix this up with just a tiny amount of water, so we want it fairly thick. And let me just see that might need a tiny touch, more water. That's better. And I'm just going to add these in amongst the purple. This is the same movement as the light turquoise leaves. But just not pulling it through as fully. So maybe the tip to halfway down just makes them look less lonely. So I'm adding some cobalt teal blue, and this will make a cooler green. I'm just adding those very swift, slightly expressionf leaves around our forget me nots. So, although we're using three primaries and the three secondaries, we are mixing and matching a little bit. So we have a variety of hues. Could do these little leaves all day. This is certainly a trusting your brush stroke move, mixing up a little bit more. Isn't that a delicious color. I love that. And while I've got this on my brush, I'm just going to add some centers, and then some larger leaves around this turquoise flower because there's quite a space there. And now I want to add this throughout, not to overdo it, but just to allow the eye to move around and discover this color. What these leaves do is close up any major gaps that we have going on and link the groupings of florals together. I love this green with the red. And again, that's a complimentary sprig of flowers there using red and it's complimentary color green. Just going to fill out these fairly thin storks with some leaves. Barely touching, really the paper. Just tiny movements with the tip of the size two Vilbet. Got my tombo here. It's perfect for dotting in the centers of our roses. And just some little dots on top of the buds. It's amazing, really, how just some little dots and dashes can bring a whole flower to life. I want to add something to these yellow flowers. I'm going to do it in pencil. And then outline some of the petals. I think the trick there is it's just slightly more subtle than doing absolutely every petal. Got so much detail going on elsewhere. So I think that's enough. Not little ones up here. It helps bring them forward just a little bit from the background as well. And just going round this little yellow flower here. And there's a little grouping here as well. I love doing little loopy sepals. Some more little loops here in pencil. Cute and very easy to do. And then why not add some lines to some of the yellow flowers? These little tiny lines in the center just really add a bit of cuteness to the flowers. I think it's really sweet. It makes the petals look really friendly, if that makes sense. And then just defining this little unique flower here, which is all on its own. And some more line detail. Just helping to bring these flowers into the whole painting. So it starts to get really cohesive now. A little circular center might come back to that. So just before we move on to the next lesson, I'm going to add some green just to the center of this yellow flower here and some of the tombo pen in the center of this one. Adding some stems. And some little loops. I think I missed those out earlier, so I'm glad I caught that. And maybe just a little outlining on some of the petals. Right, let me just have a look. What do I want to do next? And there's a little blank area here. Got some moss green. And I'm adding some sples and then stem, but that's a little thick for stem. So I'm is going to make that into a leaf. Just kind of nicely adds some detail to that corner. I want to add a third leaf to this clover. I think it will allow that orange flower to shine a little bit more. Now when we add things, I mean, I haven't fully color match that. But what you'll find is that once that's dried, it will go the same color. So I'm not too worried about that. And then we can come back to that and add some white. So I'm just making some little adjustments as we go along. And again, this is the nature of a painting like this and the best quality because we can make these corrections. We can go over paint that we've already put down. Yes. 19. Class | Even More Doodles! With Pens & Pencil: I'm just going to add the little details here to that clover leaf, so I don't forget. And then I have my new tombo pen. I wanted a nice, kind of neutral, earthy color just to.in amongst all of this vibrancy. I'm going to add some details just around that white tiny dots. Now, I decided later that I didn't like this, and I went over with the white gel pen just to go over the brown dots. So you can decide at this stage if you want to do that or not. Adding a little center. And I just think it would look quite nice to add some dots in amongst the motifs. I think it always looks like seeds blowing in the breeze. I love tiny details like this. And, again, it's a vehicle for making your painting more cohesive. Such an easy, lovely doodle to do. Very cute. Replenishing my ultramarine blue and trying to squeeze out the last of the white. So all I'm doing there is mixing the white into the ultramarine blue. And then I'm adding these little berry shapes. As you'll know from past classes, when we get to this kind of stage and level of detail, I always feel it's nice to have elements that are slightly smaller and in a balancing color, and I always find blue quite balancing. So I often put it in as a detail later on in the development of things. I'm varying the size a little bit, and I'm also taking it over some of the flowers. So it looks like they're weaving out from the background and in between the little motifs. Some of them I'm just creating a circle. All these little variations on detail are what makes a painting successful. You can be bold here, go right over other flowers. Adding a tiny touch of water. When you feel that the paint's not moving and it's getting sticky, just a tiny touch of water will release it. Looks like a little ace there. Ultra relaxing to do. And this blue seems to go with every color. Trying to keep it random. Oh, I love that. Pale turquoise blue over the deep greeny blue. Taking another pause and just casting my eye around, picking up my white gelpen again, just putting a little center into the clover leaves. This tiny detail here transforms these three petaled purple flowers, and suddenly, it looks like they are bell shaped. It's the easiest way of painting hairbells or blue bells. I just want to add a leaf or two here because I'm not quite keen on the shape of the petal. So now just going around adding some small leaves in this balancing colour. Using the same device that we've used so far, where we place color around a page. That allows us to keep balance. I'm looking for opportunities to use this color. So I'm turning it around to give me a different perspective. Pulling through some lines with the number five round brush. I find shaping the tip of the brush before doing these makes it a lot easier. But you could always add these with a turquoise pen. So getting that white gel pen moving again and adding some little dots now in amongst the brown ones that we did with the tombo again, a really nice way of creating depth. So these dots act as the final layer, really. We can imagine them flowing and being blown across and over all of the flowers and leaves. I forgot to do those earlier, so just scribbling those in little stems. And while I've got the gel pen, I'm just going to add some little centers to my yellow flowers. And I mustn't forget these here. I do like now that we made some of the yellow flowers slightly different. So just going round dotting or adding lines to leaves, you do whatever feels right and fun. We can start a tiny dots to the blueberries. Makes them a little bit more three dimensional. It doesn't have to be on all of them, but I really like little dotty details. But I'm trying not to get too carried away. So I'm pausing now, allowing everything to sink in. 20. Class | Finishing Touches: So just on to final details, and I wasn't really happy with the shape of this flower here. I've tried to correct it, and I'm still not happy, so just going to mix up that cobaltiel blue, and I think it had a tiny bit of green in it. I've tried to color match, and just shape those petals a little bit more. I wanted them more rounded. And I've tried to be bold there and do a full brushstroke. And that feels a little better. So I'm just laying down some of my cobalt teal blue. Just enough water to get it moving. And I've added a touch of the moss green. I want to repair this petal here. It just feels like that flowers a little squashed. And I wanted to show these corrections because not everything goes the way you want all of the time. I'm mixing a lighter version of that with some white, just a touch brighter. And I wanted to add a little turquoise. Because it's very bright and we've got those two very bright flowers in the cobalt teal blue, I just wanted to bring in another element or two in that color. I think otherwise, our eye will be taken to those flowers and will not roam the page as it were. So that's the that's one of the advantages of echoing color is that it allows the eye to kind of roam and see the whole picture literally. And now over here, and I think I'm going to use it just as a way of doubling up on these leaves. So it's not a flower. It's part of the leaves, and that keeps the variety whilst balancing that teal blue. And I think that's working a lot better now. Maybe a little flower here. So this is where I'm going back in to cover the brown dots because I didn't like them so much. And why not add a little white flower quite random and unique there on its own. Just doubling up those leaves. And still wanting a little bit more of this cobalt teal blue. So doing the flowers, using the same shape as we did with our forget me nots. Just want some of them poking out behind flowers. And then out in the corner here some little turquoise flowers. Tiny little flex. And while I've got that on my brush, I'm going to add some turquoise to that yellow flower. So that's looking a lot more balanced. We have this turquoise now around the page. I'm waking up that purply blue. And I just want to take that flower over the edge of the turquoise flower. It's a tiny detail, but these tiny details do matter because I wanted the turquoise petal to tuck behind those. Forget menus. I have a little bit more purple, adding a touch of white. I want to keep the colours bright but slightly softened. And what I'm doing here is trying to bring that new turquoise flower into the whole painting so it doesn't stick out on its own. And same over here. Back to my gel pen. I'm doing that little scribbly center. And why not do some detail in pencil, nice and gentle pressure. That will tie in nicely with other pencil details. I think that's enough. Some motifs have fallen too far in the background, so I'm just going round and outlining them with the pencil, as well. Looking at these lovely leaves here, and I think they need a little help, too, they're sticking out a little too much, and I want to just gently knock them back. So I have the primary yellow and some white still with our size five round brush. And we have a nice vibrant yellow. It needs to be quite thick so we can go over the thick layers underneath. So make sure you have lots of paint and only enough water to allow it to move. Pretty much neat paint, though, at this stage. Yeah, that's helped a little bit. While I've got this yellow on my brush, I might as well dt in some centers. I'm feeling sorry for this little white flower now. Just added another petal. Going back to the little purple flowers and adding some centers and also just some added tiny details over the edges of the petals. And whilst I have this yellow, let's go over there and add some to this wee area. So I'm just picking out areas that have fallen too far behind and gently outlining those in pencil. If I went in with too harsh of a color or with a darker pen, I don't think that would feel right because we've got the rose next to that and want that to shine. Back to some opera pink, using it very, very neatly, because I want to add some details to the roses. So this is neat opera pink with just a touch of water. But because we're adding layer on layer here, it needs to be a thicker consistency than the layers underneath. That's a little too sticky, so just adding a tiny touch more water. And then these little sea curves just the same as the layers underneath. And what we're doing here is just bringing those forward again. So see curves, one, two, three, and then we can add same here, one stroke, two, three, and then add little extra bits if it feels like it needs some help. The key to these roses, though, is to keep that simplicity. So thicker and thinner strokes on that one. And then some tiny details on the rose buds. I just wanted to add some thicker sea curves there, thicker paint. I love those. And again, whilst I've got that paint on my brush, just going round and adding some sea curves around the center of the orange, yellow flowers. And why not do some that have the pink center? Now, let's do some little throw away flowers. This is a very, like, a miniature movement of the forget me nots. I'm using quite a dry brush. Maybe a little too dry, but I like the control that that gives. And I wanted to add some texture. These are very textural. It's literally just the tip of the brush. Not much water on my brush at all, very dry. And very quick movements. Yeah, they're cute. And what I like about opera pink? It's not far off the pyre all red. So again, we've got a slight variation there on a hue. It is very hard to keep an overview of your painting, which is why I took regular breaks, actually, had a cup of tea, went away from it for a while, came back. I wanted this opera pink right next to this turquoise. Now, it does play with the eyes a little bit, but I like that and really wanted to kind of just add a zinginess. So casting my eye again over the whole painting and getting my pigma micron and adding tiny, dotty details to the opera pink, throwaway flowers. And then just dotting in the center. Very, very quick movement, tiny detail, and yet it allows these to pop a little bit. I love doing details like this. So this is sepia. I use Sepia more than black because I find it's just a little bit more harmonious with paintings like this. A black might stick out a little too far. Looking good. A little bit of a space there, so I think I might just add a couple more flowers. Dotting in the centers. Another pause. I want to just highlight this center a bit more, so we're to add another layer on top of the white. The white underneath is totally dried. This allows for a thicker application of the Cigna white gelpen. And a little halo in the center. And suddenly, I absolutely love that flower dotting in some white around the tombo pen marks and white in the center. And, of course, this is all part of the painting, too, is to change things as you go along if you want to. 21. Thank You!: Thanks so much for joining me. The whole aim was to encourage a relaxed mode of learning. All of this color, I feel is just so uplifting. And if you've enjoyed this style of painting, let me know, as I can do further classes for you. And you know by now that I am an art butterfly. I try all sorts of things. I love various techniques. So if there's anything else that you would like to learn, I shall jump right in and create a class for you. Although this is the last lesson of the whole class, I always see it as a beginning because you can connect with me on Skillshare or over on Instagram. And I've also joined Gen Z over on Tik Tok. I'm Holy Thomas design on all platforms. If you do show your project on social media, do tag me, as I'd love to see your work. I really hope you've had a lot of fun with this class. If you do have any questions or any tips to share with others, you can do this when you upload your project or start a discussion. So I'll see you soon. Bye for now.