Transcripts
1. Intro to Watercolor Rose Painting for Beginners: Welcome everyone. I'm Jacqueline jacks. I'm a watercolor artist and I love to paint all
kinds of watercolor. This is my studio where I filmed demos and just do all
kinds of crazy fun things. So I hope he will start
taking my classes here on Skillshare or also come over
to Jaclyn Jack's dot com. You can learn all kinds of
things about watercolor. In this demo, we're going to be painting this watercolor rose in a textured granulating
quinacridone magenta. I'll be going over the
brushes to use how to do this effect and
where to start. So we can perfectly planned a really fun rows and get
you painting right away.
2. Rose watercolor Painting challenge 2: If you're taking my Friday
watercolor painting challenge, this is number two, and we're going to be painting
this beautiful flower. It's a rose and
granulating magenta. I have my egg yellow paint, my tech thereto brushes, and some hundred percent cotton watercolor paper, 140 pounds. And this one is four
rows on my studio table. I actually have the tin
thereto set that I just love. This is a size four
retractable travel brush, a size six, I to zero quill. And this really, really cool. Zero, really long quill. It's, it's kinda like
a striper brush, but it's got a nice big balance. So let's talk about
loading the brush a little bit because for my
beginner's here, loading the brush can
be a little tricky. As you notice, I'm wetting my brush and
this is the size for, it's got a nice size quill. It's like a round with a point
and the quill is wrapped. You can see it's really
beautifully done. It's got a nice size belly which holds a decent
amount of water. It is a synthetic brush. When you load the color, it's going to suck
up a lot of colors. You see how much color is there? It's got a lot of water
and a lot of color. What I'm going to look
for in my first layer on this rose is just
a little bit of a diluted version of that color. And we're going to do kind of
a loose like a star shape. This is the fun part, just something very, very
loose, very watered down. And that is going to represent the outer portion of our rows. You want to have
some points on it. I'm trying to think of if
you have a rosy picture, try and think of the, just the outer shape of the
rows and how it shaped. There's a lot of Angular, you'll notice there's a lot of angular pieces on the
outside of a rose. You know, it's just very, very much not round. And I think that's one thing to point out on the
shapes is the fact that on roses they actually have a lot of
these little areas. Then I'm touching some
of the outer corners with my color just a
little more than the rest. And we're going to just let
that bleed because we want variations in color on
our flowers always. This is one thing I love about
a Gallo, is it's travel. It's just so beautiful. Alright, so what we've done
here is we've created a base. This is like the first
layer of petals, or it could be more than
one layer like this could be one down
here and this could be the cross one, right? But we haven't really
established anything yet. And I'm kind of needing this
to dry just a little bit. Because otherwise,
if it doesn't dry, then what will end up with is it will just keep
bleeding and you won't see the division in layers. So just to speed this up, I'm going to take a little
paper towel, blot it here. There we go. That just drives me
a little bit more. That's just what I need. Now I'm going to
take the 20 quill and we're gonna take
a little more color, put it on our palette here. I just have glass
on my studio table. Makes it just easier
for me right now. And so that you can see it. Because my palette is over here. And you wouldn't be able to
see it to establish some of these some of these petals. I just want to try if I can
and build a line there. And what that's gonna
do is as I start to go around the flower, it's actually going to hopefully
not blend in too much. So right now, my brush
is loaded with color, but not a ton of water. Just what is in the brush
is being held in the belly. So it's delivering the color at a very, very full strength. And I'm just going through here. I'm adding these
little swipes to develop some of
the lower petals. Here I'm just creating kind
of like a shadow. So just like that. Just going around
and filling that in. Then we need that to
dry a little bit more. Now I'm going to add a little
bit of water to my brush. And on this side here, I'm actually going to build out the rows just a bit
more and it's going to be a little
jagged, uneven shape. This very organic. You notice I'm holding the
brush right towards the end, so that just like that, and I'm leaving some whitespace. And you can play with this,
play with the shapes. Don't, don't be
afraid of the shapes, but I always say watch the tutorials first before
you go any further. This one I'm going to let go
over a bit and cross there. So see how I'm adding a
little more color, right? That baseline was a lot lighter and then we
lifted it a bit. Now on this shape, we can actually
lift a little bit, whether you do it with
your brush or you just take a piece of paper
to speed the drying. I'm lifting a little bit of
the color and leaving some. So that way I have a variety of different
shades more quickly. Now as this is still wet, I'm adding a little bit of
shades and shadows here. I'm gonna go here. And I'm just going to add
a little strike there. And what that does is
that creates a pedal. See how that created a petals. So I actually have the pedal here by adding a shadow there that just
dropped a pedal down. So by adding shadows and lights and darks
in the same color, you can see how now that flat shape is now
getting dimensions. So now as we go into the center, I'm going to just kinda
speed dry this a little bit more so that we can
get that quality, get a little bit stronger color. At this point, if you wanted
to add another color, like I've got some imperial
purple here on my table. I can actually get
that onto my brush. And let's create the
interior shapes. So the interior
shape is just gonna be like a little c
curve like that. Then we can put another. So what I'm thinking of is I'm looking at this and
I'm thinking, okay, I'm gonna do the shadows
and leave the lighter space as the actual top
part of my petals. By negative painting
in around this shape. Now I am forming the
shape of the rows. And because I'm using a little bit of imperial
purple mixed into my magenta. What it's doing is
it's just giving me that ability to make
that center stand out a little more just by
tinting my original magenta. And that's something I do a lot. Just slightly tinting some areas in a shade of the magenta
or whatever I'm using. And that means like I'll
add a little blue to it or whatever color is coordinating so that it doesn't really look
like I've changed colors. It just looks like I've added
something for his shadow. And it's always I
always say it's the darks that make
the lights standouts. So what I'm doing this
and kind of just, you know, going
through and like, I kinda like this here. It kinda looks like
it could be a pedal. So if I outline it, you see what I mean,
see what happens. And then if I just
go here a little bit and create more of a shadow, it just makes that top
petals stand out and look really pretty right here. Let's go and fill out that shape a little
bit more like that. It's got a little shadow. And then here I can
put a little shadow, right, to highlight
that light part. And again, I'm just, roses are a little easier
than you think because there is no
real such shape to them That's just basically
lights and darks. So if I go here, I can create another
petal that's sitting on top of these petals. And I think I'm
going to actually extend that out just a bit. Isn't a screen. So now if you stand back
and you see any area a little bit too dark
and the dry shift, you're not really
sure if it's going to work out, then just do that. Now we're gonna go back
to our magenta and make our mix just a little
more magenta, very light. One thing good about
this particular paint is it layer as well. So I'm pretty much done here. I'm just going to look
at any petals that maybe could be enhanced
like this area here. I feel like I could just
add a little more to it. And I liked the way
this is coming out, but I think I actually want this to come
out just a bit more. And this to come out a bit
more just on an angle, just to fill that side out a bit and make it a
little fuller rose. Same thing maybe over here. I really loved this area, so
I'm not going to touch it. I'm actually just going
to accent it with a bit of a shadow just to
see what that looks like. And this is completely
trial and error. I have never done this
particular rows before. I've never done
this shape before. I'm just going with the flow and seeing and standing back
and just assessing as I go. And yeah, and I like that. So now the center is very, very white and I didn't leave
a lot of other whites here. So what I'm gonna do
is I'm going to add a very lightly tinted version
of this color just over it. Just like that. I'm still leaving some
whitespace, right? I'm still leaving some white. But I'm just kinda tinting
the center just so that it doesn't punch out too much. So I really loved this. Now it's got a dry and then we'll see
what the dry shift is. And if I feel like the dry
shift is just too light, then all you do is you go back and just stand back from your, from your piece and maybe just
add another little glaze. And this is what we call
glazing. There we go. You can live color
while it's wet. If you add a little bit
of water to anything, it will blend it out
on 100% cotton paper, but you can also actually
lift that back even more. And again, cotton paper loves to just
keep working for you. It likes to keep blending
a really good watercolor. So if you want to get some
additional lights and darks, you can pull back things with
a tissue just like that. So now we're just
going to let this dry and while it dries, we're just going to add stems. So let's get my
brush out of water.
3. Rose watercolor painting challenge, stems : My studio palette here, I have a little bit
of white knights, green shadows, and
I just love this. It is beautiful. So putting it on the zero brush, that long, beautiful,
like a striper brush. And what we're gonna do
is we're just going to connect a beautiful gentle, a beautiful gentle stem. So elegant, and then
just bring it down. Notice that as I curve, it gives me some different
strength weights on my watercolor. And then you can
actually just tap it in. This is actually a great brush. If you have a shaky hand, you don't necessarily need to have a perfect hand
to use this brush. I find that it's very forgiving. And I'm going to
take one up here. And we're going to come off
with sitting the brush down a little bit and just give it a little wiggle for
one of the petals. And then here again,
another petal. Down here. I probably need a thicker
brush for the petals, otherwise I'm going to have
to make several passes. So let's switch brushes
and get something easy. So this is a good one
for the 2.0 quill. And I'm just going
to lay this down so I want a tip on my rose petal. And I'm just going to
squish it and lift. And then roses have this little jagged
edges on their petals. So we're just going to
use a beautiful tip of this brush to give us some of those little sharp edges that a gorgeous watercolor. I have found so many great ones. This is one that I paint with
and the granulating class. And I got to say I just love it. So we're going to
lay this down again. Look at that. What a
great starting shape for just perfect. We can come down and even
make it a little more pointy. And I'm going to add a
little more color up here. This is a different shape
because we're looking at a different perspective
of those petals up there. And then here I'm
just going to add a little more color because I like having a little variety. Okay, so now let's rinse out this brush and we're
just gonna go back to that magenta and a
little bit of my purple. And we're just going to
lay in a little bed. Just like that. Can add a little more color and
shape it out a little bit. And we're done. Alright, take the
challenge everyone. So go off and make
yourself a beautiful rose. There's so many shapes. Now remember if you
want something a little more pronounced
in the center, all you have to do is just
add a little bit of a shadow. And as this dries, you literally can just give
it a little more shadow here. And it will help the
lights really stand out. It's all about just having
those little shapes, especially in your center, that lead the eye around it. And it's always, I
always love to kind of fudge with it a little
bit at the very end, after things have dried
because the dry shifts, they will, they will change and it's not really
controllable and watercolor for those of you that also might be having a little
trouble with your brushes, or maybe how to load your brush. Let me just show you. So if your brush has a
nice size belly on it, obviously it is going to
hold a whole lot of water. So when you put it in the water, originally, it's going to have a ton of water
on it, right? If you feel that when you
dip it in your color, I get a little sample I keep these on hand
and this is too wet. Then you would just dry off
a little bit of the belly. Right? Then you'll have see how it just pulls
that water right now. You'll have the ability
to do dry brushing. You can also reload it with the color just
by picking color up. And then you've got
your color back again. But as the brush, depending on what brush you use, as your brush gets more dry
and water comes out of it, it will go to that
dry brush effect. So it depends if you want to dry brush effect than you want less. Do you want a big belly
brush but you want less water in the brush. It's very easy to control it. I liked the big belly brushes because I
can load them with water really quickly,
just like that. And I can take the water out
just by tapping the belly onto paper and I immediately
go to that dry brush effect. So as far as being
able to control water, that's one easy, easy way to
do it is just with a cloth. You just tap and you end
up clearing the brush. So, so, so quickly. Always store your brushes
after you wash them, after you're finished upside
down, just like this. I just hang them on this thing. I'll show you a
good way to do it is on my brush thing here. I actually just
put them just like that and that way they hang upside down when I'm finished. I always have a dirty water
and clean water on hand. And this is just a little
holder that I got. You can actually use iraq, which I get from the
garden all the time. And I just use them because they're so
pretty, you know what I mean? So as far as my setup
here, very, very easy. I think a lot of the
struggle is with papers. So this is 100% cotton paper. This one actually that I'm using here is from Paul Rubens. So they come in these really
big sheets of 15 " by 10 ". The paper is highly absorbent, so it's a little bit of a different feel
than the Fabriano. So the Fabriano is what
we made the granulating watercolor class
accordion sketchbook out. And I love this paper. It's very, very similar
to the Paul Rubens. However, the difference is, is there's a little more
sizing on the sheets. So I feel like the watercolor can be
blended a little better, but at the same time, it's just the dry
time on this one. This one has less sizing
or something on the sheet, so it's very soft. And as a result, it does blend things
really, really well. These on the same paper
on the Paul Rubens. So it's a good option
depending on where you are. I really love the artistic
owe 100% cotton Fabriano. I think this is the next
best thing to arches. And I find that I can
get these here at $19, around $20 for 20
pages in a block. And the block is
real easy to use. I also can get that exact
same paper on order from the art store for just
$8 for a huge sheet. And $8, that's $8 made this entire 30 page
accordion sketchbook, which I actually teach you
how to do with no glue, no tape, no, no, nothing in the granulating
watercolor class. Alright, I hope you're enjoying yourself and give this a try. Don't forget to share it on our Facebook group
so I can see how you're doing with your roses. And again, this was a
granulating version. If you don't want
the granulation and you want something
more transparent, then use non granulating colors. Either way you something
you love and happy painting
Jacqueline Jax, "Creativity brings peace into your life"
