Transcripts
1. CLASS TRAILER : Hey, guys, welcome to my class called painting Lewis Florals with ink. This is a beginner's addition and prequel to a previously published cause of mine called expressive florals in ink. Here we are going over the basics of painting simple flowers and elements using bottled in , which is also commonly referred to as ink Wash. If you are not an in person or don't own any bottles of ink, don't worry. This class could be easily followed along with watercolor as the concept of the illustrations I'll be covering here. It's monochromatic art. I really enjoy painting modern florals with think, especially if I am only painting with one color because of how smooth and elegant the result convened the end. I find it so versatile and simple to work with, which sometimes could be something you need. Here we will cover a delicate five petal flower, a loose rose and the simple but totally amazing many buds on the stem two ways. Using what we have learned in this class, we will then paint a composition for the final project, using all the elements mentioned just now. I will also give you a few tips and methods along the way that I implement in my own illustration practice that you may want to try or adopt in your own. So if this is something you'd like to learn, please continue on to the next video.
2. VALUE SCALE/CONTRAST: now moving on to a bit of preparation. I really urge you not to skip this step. If you are using ink for the first time or are not very familiar with this medium, the first thing you want to make sure is we understand very well the range of values we can achieve with our INC reason being we need to create contrast on the page. Contrast is crucial for a good piece of art. If all the tones and values are the same, your composition will look flat and lifeless. Or, in the case of watercolor and ink, you're basically a number the blob, which can be very disheartening. When you grab ing straight from the bottle, you have the most concentrated version in front of you. We won't be using it very much in its concentrate form unless adding some fine details that we'd like to have stand out or to add an outline. So as we add, a bit more water were basically diluting the ink which will cause the intensity and the value of the become less. This is where a mixing palette comes in handy because we can premix our values of ink to safe time whilst painting in my little value scale here, I'm going the opposite way of how it normally should be done. But because my water in the container already has been tended with a little bit of ink, I'm just going to use the water street out of there to create the lightest value. First, to get to the next values, I keep adding a little dab of ink to get to a darker tone. I recommend that you start with the most concentrate version first, then keep adding water to the well of thinking you're mixing palette a great way to ensure you are actually getting a different value where the lighter or darker a piece of scrap paper. And since watching is a good idea. There you can see the different values we can achieve with this one medium, and it's good to keep it at hand as a reference whilst working on your piece.
3. MATERIALS : the materials I will be using for this class are the following Bottled Inc. Waterproof or non waterproof? Both will dio. Although I prefer non waterproof or water soluble ink, it's small and medium paintbrush. I will be using a size four and eight. Any brush size will do. As with loose or modern florals, it is best to use what you're most comfortable with. The Thursday of the brush the better. Meaning some synthetic paintbrushes will not pick up a lot of ink or watercolor in the final project video. I actually did use a bigger brush size 12 which is a good size to use. If you're gonna be painting a bigger illustration. A little side note. Please don't dip your entire brush into the bottle of ink. We don't want to ruin our precious brushes. It is good practice to wash your brushes with soapy water after a painting session to ensure we're maintaining them. Well, I transferred my ink into a little glass bottle because mine kept leaking from the plastic bottle. It came with just a heads up. It can be very messy, so I would advise you keep it in a ziplock back when you're not using it with it. I have a little jar lit from a tea bag container. I believe a regular mixing palette would also be great as well for mixing different values of think. As for the paper I'll be using for this class, I've gotta strathmore watercolor pat here. Not my go to choice for regular watercolors, but it works fine with the ink. If you don't have any watercolor paper. Mixed media paper can handle the quite well. This paper, in particular, is cold pressed watercolor paper. But I've tried things out on hot pressed as well, and it works just fine. Please note. If you're using 100% cotton paper to paint with ink, you really have to watch the drying time as the paper will absorb thing very quickly. Another option is also copy paper, which, as you can see, still works very well. But of course, the paper crinkles. Here's also a page from my sketchbook that was meant for pencil and ink drawings, which features a quick, warmer painting of a rose in bottled. Think I did for a commission, so you have many, many options. Lastly, you'll need a piece of paper towel water in a jar and a scrap piece of paper
4. BASIC FLOWER IN INK : basic flower in ink. The first flower is a pretty universal one that you will find in many artworks. They could represent any five or more petal flower. This should be the most no pressure illustrated flower type to master, and it can be used at any level. I still see very seasoned artists and professionals use the style flower in their artworks , but from many different angles. We will paint this flower from the most basic perspective, which allows us to see its center. And I will show you guys three different methods off going about painting them. In this first version, I'm painting this under first with pure ink on my small brush. Then I take my medium sized brush, which should hold in diluted in a lot of water and using that mixture were painting in the pedals. One by one, I think, from the center will seep into our water pedals, which is totally okay, unless you might not like that look, which is why the other two methods would be really great for you. Not all the pedals have to come into our conduct with a singer. This mother can create a very loose and abstract look and can be slightly unpredictable, since it's a wet on wet technique. The second method is my most frequently use method. I paint the pedals in first with my medium sized brush. I kind of go back and forth between starting the pedal in the center or starting it from the outer part of the pedal. Depending on the kind of shape I'm going for. I do recommend pulling it from the center just because it gives you a bit more control over the direction rather than the shape for a nice, inorganic look. It's a good I get to very size and shape a little. You can also add a little more ink or a little less ink to get different tones. Once this flower has dried, I will be going in with my small brush again loaded with Pure Inc to put in the center. But it will come back to that in a few minutes for the third technique, which is a wet on dry method, just like the previous one, we're painting the center first and letting it dry to come back and paint in the pedals. I rarely use this method for ink washes, But I do use it sometimes with water colors, especially if I'm using a light color for the center, like yellow. Or if I want to add little details like in here, where I'm painting in little dots. A few minutes have passed, and both of the first parts that were painted in half dreadfully for the second flower, I'm basically drawing the center in with concentrated and using my small brush as mentioned before and for the last floor. I'm pulling the petals from the center once again using a medium sized brush that holds a generous amount of water with a little bit of ink. Okay, now that we have the five petal flower completed, let's move on to our next flower.
5. BASIC ROSE IN INK: roses in ink, as you may have often seen loose watercolor roses or abstract roses, as I like to think of them, tend to be a bit more suggest if we are interpreting the general shape of a rose and its details with airbrush and paint. If you know how to paint a rose in watercolors, then it's not very different with ink. But I actually find it a bit easier to paint them in ink for some really strange reason. I also usually end up liking the end result pitted with ink as a tends to dry more smoothly . I've also covered how to paint arose at a more intermediate level in my previous class, but I will show you a simpler version. Here. We will first pick up our small brush and loaded up with ink. It's up to you how diluted or not so diluted ink you will use for the center, but I'm using it straight from the bottle. Most artists describe painting this under NC's. I'm not sure if I follow that 100% but I paint thes curved lines around each other, sometimes let them touch each other. Once I have the center down, it's time to switch to a bigger brush. If you want a darker rose, you can dip the brush in the little pool with the light gray tone of pink. I'm adding the pedals around it. Since I'm not using a reference, it's going to be a bit more of an intuitive process, Amusing my judgment. When adding pedals, it happens to also step back and take a look at its overall shape. And don't worry if it doesn't look perfect during the first try with lose roses, that can happen very often. That's why doing a little warm up beforehand is a really great idea. There we have it. This technique often creates a dreamy and softer looking rose. Once we've completed our very simple rose, let me show you a common way. Other artists paint their loose roses, basically, the sea style pedals all around the center. This style also uses the wet on wet technique. I also like to make the bottom of the rose, or rather the part that is closest to the viewer, a bit fuller, and there you have it. It's the roads with slightly more defined pedal. It's the third rose is a bit more like the style that I active painted in and a little closer to the intermediate level. And for this last one, I start this under off with pure and using my smallest brush. I'm kind of using a similar method as the other two. Then I switched to a bigger brush and use a very diluted ink water to paint the pedal. It's only here I'm a lot more careful with the overall shape. The 1st 2 roses are overall pretty around with this one. I want at a bit more organic shape, so I do watch closely how I at the pedals I like for the outer petals to be quite big. The last step is to add a little drops of ink where I want to add some shadow, or where I want to show a little bit of distinction between the different pedals. I still recommend going a little easy on the ng because the Inca likes to spread when it's wet, and you can end up with an even color once it has dried, which doesn't look bad, but it's not as interesting with other shadows or contrast. Now that we've got our fill of pink roses, let's move on to our next lesson
6. BUDS ON A STEM & LEAVES : floral but honest Um, and leaves the's air generally very simple, but also require a bit of practice to be able to masterfully at to your floor composition or bouquet. The 1st 1 will be a stem with little buds. You may have seen them around in a lot of modern and loose morals compositions already. I paint in the little buds with my medium sized brush and try to make them a bit bigger and more frequent as I worked my way down. Then I go in with less diluted ink and my small brush to put in the big stem and little stems sprouting off of it. Do be careful to ensure that your brush isn't too wet or holds too much ink. You don't want it to completely blend with the buds as they touch. Contrast is important. Remember for the second filler, which looks a bit like a lavender flower or lilacs, depending on how full you painted. We're painting in the stem. First, I'm adding little stems on each side as well. Again, we don't have to wait for it to dry. We will at the little flowers, very loosely with a medium size brush If you like a more detailed look, you can use a smaller brush us. Well, As you can see, I'm dabbing a little dots very closely to each other with the tip of my paintbrush and lastly, basic leaves. I prefer drawing in this them first, because it allows me to focus on the shape of each leaf rather than position. What I mean is that the pre painted stems are a guide for what direction the leaves will go . I'm going for very basic shape here for each leaf, depending on your brush, personal style and preference. A basic Leave me look a bit different for you, but anything goes with painting in this style and there we have it, the fillers to our bouquet or floral composition. Let's put them together with our flowers for a stunning for arrangement in the final project
7. FINAL PROJECT & CONCLUSION: final project and conclusion for this final project. Let's use what we've learned and create the simple yet elegant composition. You can buy all meats at more and make it bigger, but I'm going to show you the starting point. Let's talk about composition very briefly when deciding on a composition for a floral painting. Sometimes I just paint what comes to mind or do a basic bouquets shaped composition. But you can communicate certain things with your overall composition, like playfulness and peas, depending on how you space something out or the location of each element. This is a draft peace of the in vs watercolor illustration. I showed you guys earlier, and I really wanted to communicate playfulness and airiness in this composition in this sample rose ink wash painting I did for my previously mentioned commission piece. I wanted to display an abundance of roses and leaves. They aren't a lot of roses, but I wanted to fill in as much space as I could, but still retain the airiness from white spaces, which I did by adding a lot of leafs for the final project piece. I wanted to go with a harmonious an area composition I tend to sketch it out on regular copy paper first than model my painting after it. This saves me a lot of a headache because I'm timepieces can sometimes end up far from what we envisioned for this illustration. I felt like doing it in a portrait orientation and for the flowers and other elements to kind off climbed their way up the page. As you can see, I'm starting up with the centrepiece, which is the rose, and I'm just going in and adding the centre, and I'm slowly add the pedals all around. I'm really taking my time as he can see and using very diluted ink to paint in the pedals. Next are the five pedal flowers here. I used less diluted ink. I want them to contrast quite a bit from the softness off the rose. I'm using my favorite method first, which is to paint the pedals and then to add the center later on once the pedals have dried . As you can see, I'm also overlapping my third flower a little bit over the roast. Don't be afraid to do that. It just adds but more interest. I've switched over to my medium size brush so I can start putting in the details for the buds. Honest em, And I'm just carefully adding each little part of it with a bit more watery texture and making it actually more watery as I worked my way down. When you get to this step, you may want to take your time so you can carefully add the stem and the little stems shooting off of it just because everything is still a bit wet. Now we're getting to the fun part, which is to add the leaves when it comes to this stuff. I like to be a bit more careful in terms of where I put each of the leaves or the stem with leaves, just because too many leaves can kind of dominate the entire piece, and too little leaves can just make little to empty. But the good thing about having less leaves is that you congest keep adding more, can't really undo too many of them. Once the pieces finished right, I'm adding another stems of leaves up there over my five petal flower, and then because I felt like the piece looked a bit empty on the left, I went ahead and added the 11 dir Sprick, or Lilac sprig, whichever one it is. Unfortunately, not all goes according to plan, even when you are planning everything out on a separate piece of paper first, because the size of this composition is just a lot bigger than what I originally planned mine out on. So feel free to improvise and add as needed. It is not time to go in with my smaller brush to add the details, and I'm starting up with the center of the five pedal flowers first. And as I munch before, if you feel like there's something missing in your piece, you can always come back towards the end to add some more details. I'm adding smaller and darker leaves. There's still a few more details that I add now that most of my painting has dried. I did not use a hair dryer for this painting, and I did it all in one session. So just assess where Europe eating has dried so you can add more final touches. I hope you enjoyed this final project and learn a few new things I would love to hear from you guys any review or comment will be very helpful. And seeing your finished product would be even nicer. Or you can even post up your draft whatever you like. If you enjoyed this class, then please check out my other class on the same subject also. Please follow me. I will be posting new classes and potential giveaways. So you'll be first to know. Thank you so much for taking my class and see you in the next one by
Jennifer H., RDÉ Co. - @rosedeliseco
