Pastel Flowers in Vintage Watercolor

1. About This Class: Hello everyone. Welcome to our pastel flowers and vintage watercolor class. I'm your instructor, Jenny Flores. On this course, I will be sharing with you the secrets, tips, and process that you can apply in creating a beautiful pastel flower composition. We will learn the right tools that you should use in painting pastel flowers. I'll be sharing the recipes, secrets in mixing some vintage pastel tones and you will learn how to paint expressive and geometric leaves, fillers, dog roses, and of course, roses. At the end of this course, we will be painting tree framework decomposition that you guys can surely hang in the walls of your home. As a bonus, we are going to have a giveaway at the end of this lecture. I'm excited to see your work. I know you guys are very excited too, so pick up your brush and let's get started. 2. Materials Needed: Papers, I would be using Baohong. So this is a Baohong paper, 10.2 by 7 in size, 100% cotton, acid free and in rough texture. Another option if you don't have this paper is the Fabriano Artistico. It's also 100% cotton, cold pressed with fine grain. If you are looking for cheaper options, you can by Canson Montval or Fabriano 25% cotton or Campap. There are good but cheap alternatives. Please do not use these kinds of paper for our class. It can be used for the drills, but not for the final project. For the brushes, I would ask you to use a round brush in size 8 or size 6. Here are the brands that I will be using. All of these are from Silver Brush Limited. This one is a silver black velvet in size 8, this is silver black velvet in size 6. This is my new favorite which is, the golden natural blend from Silver Brush Limited as well. This one is a synthetic brush, which is called silver crystal. All of these are from Silver Brush Limited. For the demo, I will be using this and this, but you can just use a size 6, if you do not have size 8. You can also use size 10 if you have. For the brush, we also need brushes in size 2. So I have silver, black velvet and golden natural. You can also use size 0, 00 or 000 or size 1 for the details. So either 2, 2000 or either 6-10. These are the brushes that we need for our class. Aside from those, we also need three cups of water. This one, one and one. The reason why we need three instead of two is because we are going to dip our brushes based on their color family. So this one is for the greens and yellows, this is for the reds and pinks and browns, and this one is for blue, purple, and green. The reason why we don't want to mix those colors is because we are avoiding that the water would be muddy. Because muddy water, it means muddy paint. For this class you also need tissue paper or rug. Whatever is available for you, I'm going to use tissue papers. We also need mixing palettes. I am using a ceramic mixing palette, but you can use the back of your paint case if you have. You can also use plastic mixing palette. I just prefer using ceramic mixing palettes because paints can easily glide in ceramic mixing palettes compared to plastic palettes. 3. Colors Suggested: These are the colors that we need for our class. First, we need some ultramarine. Any brand of ultramarine is okay. If you are using Mijello, you can use ultramarine light. If you're already using Daniel Smith, you can use French ultramarine. If you're using ShinHan, you can use ultramarine. There are also other ultramarine shades from White Nights, Sennelier, Schmincke, or other brands which you can use. For the pinks, we need either Bordeaux, Quinacridone Permanent Magenta, or red violet, or any shade that is similar to these shades. For the yellow, we need yellow ocher or yellow ocher number 2. Again, whichever is available for you. For the purple, we need any shade of purple. What I have here is carbazole violet and dioxazine violet. Any irregular purple is enough. Now this one is important. You need a Van **** brown. Any brand of Van **** brown is okay whether it's Winsor and Newton, Mijello Mission Gold, ShinHan, Daniel Smith, Schmincke, Sennelier, any, as long as you have a Van **** brown. This is a must for our class. Another a must for our class is a shade of gray. It's okay if you use other shade of gray, but for me, and for this class, I would mostly be using Davi's Grey from Mijello. But you can also use Grey Titanium from Daniel Smith. This is another must-have. You'll also need a shade of red. I'm using perylene red, but you can use any shade of red from any brand. I'm also using perylene maroon from Mijello Mission Gold. This one is optional. We won't be using this as much, so it's okay if you don't have a perylene maroon on your palette. But if you have a budget and if you have this, please, use it. Another must-have is a shade of white. I'm using Chinese white from Mijello Mission Gold. This is a bit of transparent shade of white. Another must-have is olive green. I will be using olive green from both ShinHan and Mijello Mission Gold. Some of my paints are already transferred on this palette, so I don't have the instruments. These are the must-have paints. But if you have this one, this is Undersea Green from Daniel Smith, please use this also, if you have. Another optional is Potter's Pink from Daniel Smith. Another option is Buff Titanium from Daniel Smith and Naples Yellow from Daniel Smith. Those are the colors that we need for our class. 4. Color Recipe: Green and Beige: For mixing colors, these are the two colors that are very important for our class. First is Van **** brown. Van **** browns are very important for our class because they tone down the colors. If we have bright colors, like bright pink or bright yellow, mixing it with Van **** brown will mute down the color. The other important color is gray. It could be gray titanium or Davy's gray or gray actually. Grays are very useful for our class because they are the ones that make our colors opaque. What is opaque colors? When you pick up your watercolor tubes, you will see this symbol. This symbol means transparency. If your watercolor has black square or triangle sometimes, that means that your watercolor is opaque. It means that it's not transparent. If the square or triangle is not filled with black, that means that the watercolor is transparent. Again, going back to gray, gray makes our watercolor opaque. That is why we need it for our class. These two important colors will make our vintage pastel colors. Now let us go to actual mixing. The first color that we will be mixing is not actually a pastel color but a color that are usually used for loops and it's called undersea green. If you have an undersea green from Daniel Smith, you can skip this part. But if you don't go and watch it. For those who don't have undersea green, we can actually mix this shade. All we need to do is to combine some of the regular colors that we have and then mix it and we will arrive on this beautiful shade of green. We can create undersea green by mixing olive green, Van **** brown, yellow ocher and ultramarine. Note though that although some of the colors have same names they have different shades, so be careful with that. This one is olive green, brown shin head. This one is olive green from Mijello. Now let's go and start mixing colors. I will be using olive green from Mijello and yellow ocher from Mijello, French ultramarine from Daniel Smith, and Van **** brown from Mijello. Let's try it. As you can see, it doesn't resemble with undersea green, so I have to add some more of the colors. Mixing colors is a tedious work. You have to do a lot of trial and errors but what I like about mixing colors is along the way you will discover some shades that you don't usually use, yet they are very, very beautiful. You can add them on your palette. These are happy accidents, that I really, really love every time I mix colors. I think we got it. This one is the mixed version of undersea green and this one is the original. Sometimes you will not get exactly the shade. It is because of course, there are formulas and pigments that are not present on the colors that you use to mix the shade. What's important is you get the essence of the color and not exactly the shade. This is how we combine colors for undersea green. Now let's go to our next color, which is Daniel Smith buff titanium. Again, if you have this color on your palette already, you don't have to mix this. But if you don't feel free to watch this next mixture. Buff titanium is more of a creamy shade of white. I usually use this whenever I paint white flowers. White flowers are not actually white, they're off-white or creamy white. I use buff titanium to add depth on my white flowers. Here are the colors that we need in order to create a buff titanium. First is Chinese white, and then second is Davy's gray and finally, yellow ocher. I will be using Chinese white, Davy's gray, and yellow ocher number 2 from Mijello. So here is Chinese white and then Davy's gray, and last is yellow ocher. I think I added a lot of yellow ocher here so I might add some more of Davy's gray and Chinese white. I guess we can try to swatch it now. Let's see. This is a beautiful color and I think we got it on first try. This is the mixed version and let's check what is the shade of the original buff titanium. Yes, we got it, on the first try. See it's very easy. But sometimes of course you have to try and try again. I hope you guys got it during your first try. 5. Color Recipe: Purple and Periwinkle: For our next color, It's the shadow violet from Daniel Smith. Shadow violet is one of my favorite colors from Daniel Smith and Mijello as well. With again, although they have the same name, Mijello and Daniel Smith have different shade for shadow violet. Let's take a look at it. This is shadow violet from Daniel Smith and this one is from Mijello. They're both called shadow violet, but as you can see, the one from Daniel Smith, it's a bit of sepia ish shade, while for the Mijello it it is a bit bluish shade, which is so far from the shade of the Daniel Smith, but again, they are both called shadow violet. Be careful when picking your colors because same color names doesn't mean same color shade. Let's try mixing shadow violet from Daniel Smith. First you need violet brown, and then ultramarine. We also need red-violet or quinacridone permanent magenta and sepia. I don't have sepia on tube. I just have it on my palette. Let's try to mix it. First. I'll mix sepia and then violet brown and then I will add a little of quinacridone permanent magenta, and ultramarine. That's it, mix it. As you can see, I have created a beautiful shade of violet. But I don't think that this is the same as shadow violet of Daniel Smith already. I think I have to add some more sepia and more ultramarine, I think we have to mix it again. Again, it's not yet same. I'll be adding some more colors. I think we're almost there. I think we got it. On our third try, we finally got it. This is our shadow violet mix. Let's clean a vessel mix of shadow violet. I'll just be adding a little bit of water in it. Let's also add a pestle mix of under sea green. I'll be adding a little bit of water on both under sea green and both titanium mix. The next color that we will be mixing is called ferry winkle. It's a powder blue shade, a very beautiful powder blue shade. We will be using ultramarine Davis gray and Chinese white for this. Let's mix ultramarine and then Davis gray and Chinese white. This is a ferry winkle. It's a beautiful powder blue shade. 6. Color Recipe: Pink, Suede and more: Now our next color is called suede. We will be mixing Chinese White, Davy's gray and Van **** Brown. If you're wondering, what if I don't want to mix this color? What if I want to buy a shade it, periwinkle or a shade of suede. There's a palette called vintage pastel from Art Philosophy, and they have this beautiful vintage pastel colors. This is suede. Now, let us go to our next color, which is Potter's Pink. This color from Daniel Smith. You really have to learn how to mix this one because this is expensive, it is better to mix this one instead. Here's how we mix it. We'll combine Davy's gray, weirdo or red violet or quinacridone, permanent magenta, any shade of red, Sepia and Van **** brown. Let's mix it. I'll be adding some more of the colors that we used earlier because I think we will never achieve that shape with this, a lot of red that they've put in. There we go. I think we finally got it. This is Potter's pink. Let swatch it here. Next color is light yellow or pastel yellow. For this color we have yellow ocher and Davy's gray. This is my light yellow sheet. Now, next is blue green. It's a pastel blue Vinci. I will be mixing ultramarine, Davy's gray, and olive green. I'll be adding more ultramarine in Davy's. The blue spark would be more obvious. There you go. Actually when you first watch it, it would be dark or muddy sometimes, but when it dry, the beautiful color would finally appear. The next color that we have is pastel terracotta. We will be mixing orange and Davy's gray. It's a beautiful pastel there. If you want to make this darker, you need to add orange and a bit of Van **** brown. This will be the mixture that we need if you want to create a terracotta mix. If you're planning to paint a pot, this is perfect. Usually when we buy watercolor in orange shade, it's too bright. You really need to mix the color with this. The next mixture that we have is lavender or light violet. All we need to have is a regular violet. I will be using Carbazole violet. You need to mix it with Davy's gray. This is another shade it to create from this mixture. If you're thinking that it's the same as shadow violet, Know, it's not. They are different and next color is pastel apple green. We have olive green, Chinese White, Davy's gray and yellow ocher. This is the pastel apple green. Next color is light pink. We have red violet, Van **** brown, Davy's gray. It's a bit darker and stronger compared to Potter's Pink. From the mixtures that we did earlier, you can create a beautiful palette like this. You can also do this one, which is a very nice pastel optimum shape, or this one. You can combine a lot of beautiful colors and create your own palette from the colors that we've mixed earlier, also from the happy accidents that you have created, you can produce another shades. It is a very beautiful process and all you have to do is enjoy it. Thank you guys for watching this video and see you on our next topic. 7. Brush Strokes: Let's go to our next topic, which is brushstrokes. But before we proceed to that, I want to guide you on how you should really hold your brush. There is actually no right or wrong on holding your brush as long as you're comfortable. But as for me, this is how I hold my brush. I hold it like a pen. But when I need to remove some stress on the tip of my brush, like example, I really need to create a very thin line, I use my pinky finger and rest it on my paper so that the tip of my brush would be light and my stroke would be very thin. The first stroke that we will be doing are the thin strokes. When doing thin strokes, we're just using the tip of our brush. For me, it's easier to create thin strokes when your stroke is going up like calligraphy. In calligraphy, 10 strokes are done by doing upward strokes. Remember, you will only use the tip of your brush. The next stroke that we will be doing is the thick strokes. For this thick stroke, you just need to add some stress on your brush, and remember, for this stroke, your brush is facing your left side. The third stroke that we need to do is the flat strokes. For this one, you are just as if highlighting something and your brush is facing the one something, anything that is in front of you. That's the clue for flat strokes. Now remember, this is the first row, second stroke, and third stroke. We will be combining these strokes. The first combination that we have is thin and thick stroke. Stroke number 1 and stroke number 2. It's like this. Thin, and then slowly release your brush, and then lift it slowly, and then slowly release it again. Thin, thick, thin, thick, thin. The next combination that we have is the first and last row. It's like this. Thin, slowly release it and then lift. A lot of my students are really having a hard time on this stroke. This is quite a hard stroke, but it is a very important stroke because it will help you create your pedal. That is it for the first part of our brushstrokes, see you on the second part. Let's continue doing our strokes. For our next stroke, it's a combination of thick and thin strokes also. But it's a little tweaked. You have to do a thick that is a little curved and then lift it as you remove your brush. Thick and then release. Thick curve release. If your stroke is a little dry, so sometimes it happens, you just need to dip your brush again. As long as your first stroke is wet, you can redo it, so you can retouch it. Now let's do the opposite side. Thick curve and release. Don't be pressured. This curve or this stroke doesn't have to be perfect. You just need to do it as this, as it is instructed, but it doesn't have to be a perfectly curved stroke or something. Our next strokes are thins keystrokes. Again, only the tip of your brush will move here. It is just as if you're writing letter C. Again, it doesn't have to be perfect. Don't be pressured. Let's do it on different directions. On different angles. If you put a little stress, you will see that it's a bit thick. It's okay. The next stroke is C stroke again, but there is a combination of thin and thick stroke here. It's then release and then lift. Again, curve C stroke. It's okay if it's not perfect. For this stroke, your brush is just raising your paper so it's as if writing something. Let's try to do it on different angles, and different directions. By the way, you can turn your papers. It would be easier sometimes to turn your paper than create strokes in different angles. It's okay. I usually up until now turn my paper when painting. Now let's try to create this stroke in small, medium size. Then let's also try it on different angles. Now our next stroke is a bit small compared to our previous strokes. You may use your smaller brush here. But if we have a very pointy size 6 brush, you can also use that. This one is like this. Just small C's. Just the tip of your brush and do it on different directions. The next stroke is something like that also, but there is an edge, so it's like letter V. It's okay if some of the parts of your stroke has thicker strokes compared to other parts. As you can see here, my strokes are not similar with each other. Now let's proceed to more advanced strokes. The first stroke is thin, thick, thin, but this one is a bit of diagonal stroke. You have to make your stroke a little bit curled. Thin, thick, thin. Next is we will add a C stroke below your first stroke. It will look like this. If there is a space, just fill it with another stroke. Again, remember, there should not be perfect. From this, we will add some random thin strokes. Thin, thick, thin, thick, thin, and then thin strokes. Let's try it once again. Now, another stroke is the one that we did earlier, the partner, and then add some thin strokes around it. These are the strokes that we will be needing to create our roses. 8. Water and Color Ratio: Hi everyone, welcome to this topic. On this topic, we are going to discuss the water and color ratio. I usually have three different water and color ratio, namely butter, milk, and tea. This topic is very important because this will determine the amount of water that you will mix on your color so that you can create a nice and beautiful shade of the color that you want. For this demo, I'm going to use this beautiful shade of color green and it's called Green Earth by White Nights, Nevskaya Palitra. I'm just going to put a little bit of this color on my palette and then I'm going to get my brush. This is the brush that I will be using for this demo, it's the silver-black velvet size eight. I'm just going to wet my brush and get a concentrated amount of my color, and this is what we do in butter mixture. As you can see, it's very pigmented and the color is very vibrant. Now if we want to do milk mixture, we're just going to add a lot more water on our color, and this is what it will look like. Still, the color is very visible, yet there's an equal amount of water in it. This mixture is watery but still pigmented. Now if we add more water in this mixture, we're going to get the tea mixture. The tea mixture is a very light version of the color that you want. This is usually used on fillers or leaves, or anything that you want to look as if it's on the back part of your painting. Let's say on this painting, this is how we use the butter, milk, and tea mixture. In here, as you can see these main subjects, which are the dahlias and roses, we use a mixture of butter and milk mixture. Those which are on the side and which seem to be on the background, we use tea mixture. In here, you will see that we use these three different water and color ratio. Again, you have to familiarize yourselves with these three water and color ratio because it is very important to create a very harmonious and complementing watercolor creation. Again, butter, milk, and tea mixture. Now I'll see you on our next topic. 9. Watercolor Techniques: Hello everyone. Welcome to our newest topic. On this topic we are going to discuss all the important watercolor techniques that you have to learn in order to create a beautiful watercolor bouquet. These techniques are the wet on wet technique, wet on dry, wet on cold, and lifting technique. Now let's discuss. The first watercolor technique is the wet on wet technique. For the wet on wet technique, we are going to paint the surface first and then while it's still wet, we are going to add another layer, and here's how we do it. I added the first layer, and while it's still wet, I'm going to get a purple. I'm going to paint three lines on top of this one, and as you can see, the effect that it did was the three lines that I added were dissolved, and it did not meet a very clear three lines and that is because the first layer is still wet when we added the second layer. Now for the wet on dry technique, we are going to paint the second layer when the first layer is already dry. As you can see here, I already painted our first layer, and it's already completely dry. Since it's already dry, I am going to load my brush with purple again, and I'm going to paint some lines on top of my dry surface. As you can see here, the four lines that I made did not dissolve. It was very clean and clear, and that is because the first layer has already been dried up before I painted the second layer. Now, I want you guys to remember that both of these techniques are very important in painting a bouquet. They may be different, but they both have characteristics that are important in creating a harmonious and loose floral painting. Here's how I use these two techniques on my paintings. For this sample, here on the rosebud I use the wet on wet technique in painting the leaves. I painted the green earth first and then while the green earth layer is still wet, I painted it over with sepia mixed with green earth. The two shades of green mix well together. I also apply the same technique for the rosebud and the leaves. While the rosebud is still wet, I added the leaves and it made a beautiful bleeding effect. Now for the wet on dry technique, I used it on this part. As you can see, the branch was not dissolved and it did not mix on the leaf because when I painted the branch, the leaf behind it was already dry. That is how I applied the wet on dry technique. Now that we're done with wet on wet and wet on dry, let's go to our third technique, which is the wet on cold technique. Wet on cold technique is quite the same as the wet on wet technique. First you are going to apply the first layer. But in here you will let it dry a little bit, not too wet that the water is still flowing and not too dry that the water is completely dried up. Then when the mixture is close to getting dry but not too flowy anymore, that is when you will apply your next layer. If you will take a look at this one, you will see that it is similar to wet on dry. But if you will take a closer look, you will see that it's bleeding a little bit, not bleeding as much as the wet on dry technique, but it's still bleeding. The beautiful thing about the wet on cold technique is you can soften the edge of your second layer. All you have to do is get some water and load your brush with a little bit of water and then put it on the edge of your second strokes. Here's how I use it for our bouquet. In here, in the dahlia and on the rose especially, I use the wet on cold technique. Now the next watercolor technique is the lifting technique. For the lifting technique, you can actually do it on wet on wet or while the first layer is still wet. You can also do it while the first layer is on a cold state. When you do the lifting technique, you are going to get a small tissue, like this one and then scratch it. Scratch the first layer. For the lifting technique, I usually use it on correcting errors like in here. If you accidentally created a blob, using the lifting technique is the perfect solution for that. Just makes sure that the layer that you're going to lift is still wet. Those are the four important watercolor techniques that you have to learn. Please make sure that you will familiarize yourselves with those techniques because they are all important in creating a beautiful bouquet. Now, see you on our next topic. 10. Painting Fillers: For the first filler, it is very easy. We will just be creating a small flower and it looks like anemone. It is a five or four-petaled flower. The first row that I'll be doing is the thick and then curve and then lift. It is as if you're creating a leaf. For the first petal, you can do it at milk mixture. After painting that first stroke, which looks like a leaf, you will be adding some thin strokes around it. For the second petal, it would be nice if you will use tea mixture for this one so that there will be variation between the first petal and the second petal. Don't forget to add random thin strokes around the petals to add depth. For the fourth petal, I will be going back to milk mixture. Then for the fifth petal, I am going back to tea mixture. The reason why I'm doing this is because I want to add variation. There would be depth and highlight on my flower. While it's still wet, you can add some milk mixture on the tea mixture petals, and then that's it. You can now add your second flower. Your petals doesn't have to be perfect. They don't need to have equal size. It's actually better if they are not equal. It would look imperfect. Imperfection is actually very beautiful when painting. Then when you're done with your second flower, you can add your third one. You can create different sizes of fillers. That is actually beautiful. Sometimes when your flower is too close to the other flower, some of the petals can't be done completely. Just create half of it as if the other half is behind the petal of the other flower. It's actually better when the fillers are close to each other so that there won't be a lot of spaces in between. When you're done doing the petals, you can add small leaves around it. Just follow how I did my leaves here. Then when you're done adding leaves, you can now add the center of your flower. For me when using shadow violet, I'm adding yellow ocher at the center of my flower. The center of the flower, it's just thin strokes around the core. That's it. That's our first filler. Let's go now to our second filler, which is like a small rosebud. The first stroke is tea mixture and then you just need to create a downstroke so it's like a beam. Then using milk mixture, you will add another stroke beside it. You can do this by doing upstrokes. Then for the top portion, you just need to create thin curly strokes just to create an illusion that there are small petals around it. While it's still wet, it would be nice to add a stem for your rose. Because it's still wet, the color will bleed and it will create a very beautiful effect. Now for our third filler, we will do the bleeding effect that we did on the circle earlier. We will create some circle and butter mixture. When we're done, we will create clear circles beside it. As you can see, the color is bleeding from the butter mixture through the clear circle. Just put it too close to each other so that colors will bleed through each other. Now after doing that, we will be connecting the circles using our [inaudible] green mixture. We will also be adding some small leaves but this one is optional. That's it. That's our fillers. You can actually create more fillers out of these three fillers. You just have to be creative. Fillers are small so you really don't have to make it perfect. See you in our next topic, which is leaves. 11. Painting Leaves: Now let's go to our next topic, which is leaves. Leaves are very easy, but you can create beautiful artworks by just painting leaves alone. The first drop that we need is a thin line and then we will create the thick curved stroke, the one that we practiced earlier and then give it a partner. As you can see that's so easy. Let's try to create a leaf using a more pigmented shade of blue. This is another way to create the leaf. This is called a one stroke leaf. You will just create a thin stroke and then another stroke which is thick and then leaf. As you remember, we have this kind of thrill earlier so this is the application of it. Let's try creating a leaf with a little bit of depth. Create one leaf and while it's still wet, you can add milk mixture on some side of it like this. This is a wet and wet technique and as you can see, when this one is already dry, this will create a beautiful effect on our leaf. Another leaf which is actually the same as what we did earlier. But this is a combination of different angled leaf. First thing you need to do is to create a letter V that is away from each other and then create one stroke in the middle and this will be your stems and then from there you will add your leaf. You can turn your paper so that it would be easier for you to add the leaves. The next leaf that we will be doing is the circular shape leaf. The first thing, of course, is to create the stem and then for the stroke, we will not lift it, we will do the thick curved stroke and then stop and then give it a partner, and then connect them by doing an oval top stroke. You can also create two leaves beside each other using this kind of leaf and it would be better if you will use milk mixture for one leaf and then the mixture for the other so there would be variance. Now let's create some details. For the leaves, it is nice for you to do the wet on dry technique. How do we do that? First is, of course, you let your first leaf dry and then you get your detail brush that could be size 2, zero or even smaller than that, and then create a thin thick thin strokes in the middle. Use butter mixture for the details. Remember, you can only do this when your first stroke is already dry. There will be no details on your leaf if it's still wet so you have to let it dry first. Another detail that you can create is this random detail. This is how we do it, something like that. It's not actually a defined stroke, but more often, more details on your leaf just to add some effect in that. For our leaves, you can add veins and I usually use detail brush for this one. Also you can pick between milk mixture or butter mixture for the veins. For our next few leaves, they're more of stem leaves. They are longer than the ones that we did earlier. Our first leaf is eucalyptus. This is how we do it. First you will create a long, thin stroke, and then just press your brush to create round strokes like this. It's more of really a round stroke also. Just familiarize on how we do this. It's like heart-shaped petal and remember, it doesn't have to be equal. The one you put on the left side doesn't have to be the same as the one you put on the right side. You got to let it dry first and when it's already dry, you can add some details. Let's go proceed to our next leaf. This one is also eucalyptus, but this one is a duller version of the eucalyptus. This has round leaves and first of course you have to create your main stem and then add round leaves around it. Same principle, you have to let it dry first before adding details. Let's go proceed to our third leaf first before adding details. This one has long leaves and long stems. First you need to create one thin stroke and then press your brush and then pull it before lifting it up. Now let's go back to our first eucalyptus and add some details. I will be using butter mixture for the details and just adding some dark shade of green on the sides. For the duller eucalyptus, I will be adding some veins inside. I will be using a detail brush to add thin lines in the middle and for the long leaves, I will be using the thin and thick strokes that I did earlier and I will be putting it in the middle. That is it for our leaves, so easy, yet so beautiful. See on our next topic which is roses. 12. Painting Dog Rose: Strokes: On this part of our class, we're going to paint a dog rose. A dog rose looks something like this. As you can see, it has petals and it has a nice core. If you wanted to paint a dog rose in a loose way, which looks like this, you have to be careful when it comes to water works. You have to familiarize yourself with the amount of water that you put on your brush, as well as the amount of color that you put on your brush. The best face to put on dots on some edge of your dog rose is when it's still cold. Now let's go and study the basic strokes of a dog rose. I want you guys to choose whatever color you want for your dog rose. It would be nice to use a pastel color, but for this demo, I will be using something a little bit more dark, just so you can see all the things that I do clear. Let's go. For our first stroke, this is what we need to do. As you can see, it's very easy. By the way, I'm using size 8 round brush in here. You have to do around 4-5 petals like this. It would be better if you will be using different water in coloration for the color of your choice. It's also nice if you will use different sizes for your petals just so there will be variation. Just keep on practicing the strokes. Later on, I will show you some more strokes that you need to familiarize when it comes to painting dog roses. We're done with the base layer of this dog rose. Now I'm going to do another sample just so you guys can mean more familiar with the strokes. This time, I will be using a pink shape. Here there are different water and color ratio. I use different water and color ratio. Now since my red flower is a little bit dry already, I'm going to go back to it. The face of this red flower is cold face. It's not too wet and it's not too dry. Now what I'm doing here is I am creating a separation between the petals. There would be an illusion that some petals are on top of the other one. I'm spreading some colors that were clot on some areas. Again, this face is the cold face. It's not too wet and it's not too dry. Now to add a little bit of detail on my dog rose, I will be adding some dots of color using butter mixture on the top and edge portion of my dog rose. So this will add a little bit more details for my flower. In here I'm just repeating all the procedures that I did on the red rose earlier. I'm adding dots of colors on the top portion and on some edge of my dog rose. As you can see, it created a very nice effect on my flower. We're going to wait for these layers to dry first, but for now since I have a sample that is already dry, I'm going to show you how to create the core, which is the focal point of our dog rose. In here, I will be using size 2 round brush, but you may use any detail brush. For the core, the usual core of a dog rose is yellow, so I'm using yellow ocher for this one. For the core, all you have to do is create small dots like this around the center of your petal. It would be better if your dots are very small and very fine because it will create a very nice effect on your painting. Now, after you do the yellow ocher dots, I want you to get a raw umber or yellow ocher mixed with Van **** brown. That is the second layer of your core, and you will create another layer of dots also. Now after that one, I want you to create a small circle at the center of your flower. Using yellow ocher again, you will create small lines. Also in here, it would be better if you will be using something that has very thin tip so you can create a small line. The smaller, the better. Now since this flower doesn't have a defined separation of petals, what I'm going to do is I'm going to get a butter mixture of the color that I used here, and then I'm going to separate each petal. Once you created a separation, it would be better to soften the edge of that separation by loading your brush with water and brushing the stroke that you have created. This is how we do it. Now once your yellow ocher lines are dry, it would be nice to add another layer of lines using raw umber or again, yellow ocher mixed with Van **** brown. For the last detail for our core, it would be better to add raw umber on some side of your small circle. This is the final product of our dog rose. I want you guys to do it again on the project that you're creating right now. Oh, before I forget, it would be better to add leaves on your dog rose because again, without leaves, our flowers won't look very realistic and happy. Let's go back to the two flowers that we did earlier, and let's add details on their core. 13. Painting Dog Rose: Details: Now since this flower is already dry, what I'm going to do first is I'm going to separate the petals clearly by adding a butter mixture of the color that I use. We're going to do the butter mixture plus loading our brush with water and softening the edge. On the red flower we're just going to repeat what we did on the pink flower. The layer is already dry and now we're going to proceed with the core of our pink flower. I'm going to get the yellow ocher and my size 2 brush. I'm going to create the small dots around my core. Now this time, I'm going to add the small circle at the center of my flower. On this part of my painting, I loaded my brush with raw umber and adding dots on my core again. Time to add the tiny lines from my dots to my big circle. Using raw umber, I am adding dots to the circle of my flower. We are almost done. So I'm just going to add leaves around my dog rose and I'll also be adding another shade of green to give a depth to my leaves. Less details, raw umber lines, before we forget. We are done with our dog rose. Dog rose flowers may be simple, but they create a very nice painting when you create the composition. Look at this one. It's a very nice composition and it looks so vintage. I love the color that I use here. Here's another one that I did earlier. This one is a combination of dog rose and my rose version to you, which you guys will study later. That is it for our dog roses lecture, and I'll see you on our next topic. 14. Rose Beginner Version: Before we proceed in creating actual roses, I want you guys to practice some drills first. The first drill that we have is a spiral shape drill. First, we need to create the core of the spiral shape. As you go out of the circle, your strokes are getting thicker, so you're putting some more pressure on your brush. Let's take a look at it on this demo. Then when you already reach your desired size, you close in. Now for the second part of this drill, I want you guys to remember this rule, touch once in a while. That is our first rule. Touch once in a while. What does it mean to touch once in a while? On our first spiral drill, we tried to maintain the white-space between our stroke. But this second drill that we have, I want you guys to let your stroke touch some of the previous stroke. Let's check our demo on how I did it. Again, I still want you to maintain whites spaces, but for this second drill, I also want you to practice the once in a while touch rule. Before we proceed on our third spiral shape, I want you guys to practice the C strokes. These are thin, thick, thin strokes that are shaped like letter C. This C strokes will be used for our roses. Now, check on how I did it. Now let's do the third spiral shape, which is composed of C strokes. Again, I'm applying the once in a while touch rule and also leaving white spaces on some parts. But for this third spiral shape, I want you guys to add another rule, and that is called hug. I want you guys to hug the C strokes. What does it mean to hug C strokes? This is the wrong stroke that some of my students did before. After creating a C stroke, the second stroke that they did ends too far from the first stroke, which is not correct because you have to put it beside the first stroke still. That's why I want you to hug it so that the spiral shape will be maintained and it's easier for you to create the touch once in a while rule. Again, let's go back to C strokes so we could practice it again. Finally we are here doing our first type of rose. This is the easiest kind of rose and this is commonly used by a lot of artists even the professional artist, they use this kind of rose sometimes. This is how we do it. We do the core first. It's composed of C strokes but are thinner. You should use your detail brush for the core. As you go out of the circle, your strokes are getting thicker and so you're putting more pressure on your brush. You should not care only on your strokes, but also on the tonal values of your color. As you go out of the circle, the color that you're using should be lighter. You must be adding more water on your color. Like here. I use a very pigmented mixture for the core here. It's butter mixture. When I got out of the circle, I use milk mixture. You can also use milk to tea or like what I use, butter to milk. To add more depth on the rose, we will be adding butter mixture on the color. Again, this should be done while the rose is still wet. That's it. That's the first kind of rose that we have and see you on our next topic. 15. Rose Intermediate Version: Next rose, which is the second version that we have for this workshop. It's also common and some of my artist friends usually use this. This one is also composed of C strokes, but it's more defined. This is what it looks like. It's also composed of C strokes, which is thin, thick, thin. But as they release the thin part, they don't put so much pressure. That is why it's more fine compared to the first rules that we had earlier. Also same with the rose that we had earlier, it has a very defined core. We use detail brush for the core. Unless your round brush has a very pointed tip, I suggest that you use detail brush for the core. Then same principle as we go out of the circle, the strokes are getting thicker, and the color that we're using is getting lighter. But this is the additional thing that they have for these rules. The wiggle. As you go into this wiggle so your strokes are getting bigger. When you reach the last two parts of this circle, I want you to add a wiggle on the C strokes. Thin, we go and then release. Just like how I do it here. When you think that your rose has a lot of white spaces or it's too flat, I want you guys to add a darker mixture on top of that rose. For this one, I'm adding butter mixture on the core and some more buttery mixture around the color of my petals. Again, I'm doing this while my petal is still wet. It's okay if your core is already dry, that's okay. But make sure that the petals are still wet when you add watery mixture on the color. That's it. That's our second rose. Before you leave your rose, I want you guys to add at leaves around it. Because again, even if your rose is so beautiful, it will not look like rose without leaves. Because generally, loose floral roses don't really look exactly like actual rose. But leaves make them more rosy. I want you guys to always add leaves when you paint a rose. That's our second rose. See you on the third, and my favorite rose. 16. Rose Advanced Version: Let's go to our next topic which is roses again, but Version 3. This version is my version of creating rose. Over the years I have developed my style in painting roses, and currently, this is my current style and I'm very happy to share it with you guys. First thing I do when painting this rose is to add a lot of details on my core. When I paint core, I really use a very pointy brush. I'm currently using golden naturals, long round size than here. But you can use any detail brush for your core. As you can see, I'm creating small curly details. As I go out, I'm adding a little bit pointy strokes, which is C strokes but has a bit of points. Then before adding another larger stroke, I am already adding butter mixture. The reason why I'm already adding butter mixture instead of waiting for everything to finish, is because I want to add it while it's still wet. There are papers that can dry easily. Again, some of the details that I want to add should be added when the stroke is still wet. I want to secure the wetness of my stroke before creating your strokes. That's why I'm adding this right now. Again, as I go out, my C strokes is getting bigger and I'm adding random thin strokes around my C strokes. Now as I go out, I'm creating this stroke, this diagonals thin and thick strokes and I'm adding C strokes below it to create a wider petal shape. This is part of the drill that we've practiced earlier. If you miss this one, you can always go back to our drill spot. Now, I'm adding more random thin strokes before I finally close my rose by adding messy leaves. Why do I add messy leaves? I want my leaves to be messy because it creates the sharp leaves epic. Roses in reality doesn't have soft leaves. They have very, very sharp edge leaves and I want to add that idea on my loose rose. That is why instead of creating a very neat and soft edge leaves, I'm adding these messy thorny leaves. Instead of leaving it flat and single-colored, I'm adding this Van **** brown on my leaves while it's still wet in order to add depth on my leaves. As you can see, even if I've done a lot of works on my leaves and roses already, the colors on the leaves still bleeds on my flower. That is because the paper that I'm using is 100% golden. I'm using battle home. When you're using 100% cotton paper your paints don't dry off easily, and so you have a lot of time to work on bleeding techniques. You can do a lot of bleeding techniques. You have a lot of time to do bleeding techniques when you're using 100% cotton paper. That's why I really, really love and recommend using 100% cotton paper. Now to divide everything that I've discussed earlier. First, I did the core and this is how we do core. It's random curly thin strokes, but they're close to each other so avoid doing these. Thin strokes, but a lot of whitespaces, that's okay, but it would be better to create random curly thin strokes that are very, very, very close to each other. Of course, still leave whitespaces. The next stroke that I did is the C stroke, which is a little bit V stroke. After doing that, I've added the butter mixture immediately and I added it on the color. This is the color part that I'm talking about earlier. Now for the last stroke that I did, I did the diagonal thin thick thin stroke so it looks like letter N, and I added a C stroke below it so it looks like a dove wing or something. It looks like this. I added a lot of random thin stroke on that petal stroke. Again, this is how I did it. Everything is just composed of these strokes. If you're having a hard time doing this, just go back on the drills video that we had earlier and refresh your memory on how we do these strokes. Again, let's try doing the Version 3 rose. I will be using Potter's pink for this rose. These are my two roses, and I hope you guys got my technique here. If you have any more questions about this rose, send me an email or DM me on Instagram. I would be happier to answer your questions. Let's now start creating our final projects. 17. Vintage Dog Roses Painting: Hello everyone. Welcome to our first final project. On this final project, we are going to paint this beautiful dog rose composition. So I really love this composition because this is inspired by some vintage postcards I found on the Internet, and I know you guys will surely enjoy painting this composition. Without further ado, let's start painting our dog rose composition. So for our first stroke, we are going to create the petals of our first dog rose. For reference, you can check our final project on the project section of this class. Anyway, our first flower will be placed in here, and I am using suede, which is the color that we mixed earlier for our flowers on this project. I am going to create the petals in different water and color ratio. Now after creating our first flower, I am going to create another one on the lower left side of my paper, and another one on the lower right side. Again, we will be using different water and coloration for each petal. It would be better if your brush is loaded with lots of water, so the color will be flowy and we can create the details. Speaking of details after creating your petals, once it's already in the cold stage, we are going to create dots on some edge of our petals like this. We're just going to continue doing this same strategy for the rest of our flowers. Now while waiting for our petals to dry, I'm going to add some leaves around our flowers so they will lead. I'm going to mix my undersea green with Vandyke brown, but you may use your own mixture of coloring. To add some details and depth, I am going to add a little bit of dark brown, which is Vandyke brown on some areas. Also it would be better if you will use different water and coloration for the greens that you're using, for the leaves, just so there would be an illusion that some leaves are in the back part and some are in front. On this stage of our painting, we are going to add smaller leaves. All you have to do is create a stem and then add small leaves. I want you guys to be free and not follow everything that I'm doing because I'm sure the spaces that we have made is quite different. It would be better if you follow your own heart and put leaves wherever you want. Just control yourself and know where to stop. Keep on adding leaves, keep on filling those spaces. There is still some awkward spaces in between my composition, so I will be adding more leaves. After that, we're going to proceed with the details of our dog rose. I think we are done with the leaves, so now let's go to our first dog rose and add some details. The first detail that I will be adding is the separation between the petals. I'm loading my Number 2 round brush with a water mixture of the color that I use and I will be separating the petals. As I've shared with you last time, after putting the water mixture, you have to load your brush with water and soften the edge of the stroke that you have created. Just do the same for the rest of the flowers. Since we are done with that details, what we're going to do right now is the core, so I'm using yellow ocher and I'm adding dots around my core. After adding the core, what we're going to do is we'll add this small circle in the middle part of our flower. To connect the small dots to the circle, we will be creating lines. Again, make sure that your lines are thin because it would look nice if they're thin. I am doing this same procedure for the rest of our flowers. Now I am transferring to raw umber. Creating dots, again using raw umber. Of course after dots will be creating thin lines using raw umber as well. For the final detail, we will be adding a little bit of shade on our circle by using the raw umber. I'm just repeating all the procedures that I did from the first flower until we've finished all our dog roses. By this stage of your composition, I'm sure you're seeing the beautiful effect of the details that we have created, and I'm sure that you're seeing how beautiful your creations are right now. I'm very excited to see your final project. Please upload this version of your final project on the project section of our class. Remember we have a giveaway going. If your project is pick, we are going to give you a set of vintage pastel watercolors from Art Philosophy. I'll see you on our next project. 18. Pastel Roses Painting: Initial Strokes: Hello everyone. So welcome to this second final project of this class. And on this final project, we are going to create this beautiful rose composition with fillers. So I know you guys are excited and let's start. So our first task is to create the core of our first rose. So I'm using a pastel pink mixture for this color. And you may use anything, but it would be better to use something that is pastel as well. So after creating the core, what we're going to do is load our brush with water and soften the edge of the last stroke for our core. Then after that, I'm switching to bigger brush to create bigger strokes. So all you have to do here is apply everything that you've learned on our class earlier when it comes to painting roses. So you may use the other type of roses, the intermediate one or the beginner's version of roses. But for this, I'm using the Version 3, which is the advanced version of loose roses. Now what I'm going to do is I'm going to create the unique strokes for our advanced rose, which is something like a dove. So I know you guys are already familiar with this one. Just keep on creating your strokes until you reach your desired size. Be careful because you might overdo your rose and it might get too big, so you should know when to stop. Now that I'm done with my first rose, what I'm going to do is I'm going to add some leaves using this shade of green. This is a mixture of undersea green and Van **** brown. Now, I'm adding different shapes of leaves on different areas and I'm adding it right now, which is the perfect time because my rose is still in the cold state, so there would be bleeding effect on my rose and my leaves. I'm going to add some dots of darker shade of green to my leaves to give an effect that there are shadows. So we're done with our first flower, now we are going to create another rose on the lower right side of our paper. This time I'm going to use an off-white or creamy white color. So again, same procedure, focus on your core. Create a very detailed core using your smaller brush, which could be size 2 or size 4. Then after that, we are going to soften the edge of the last strokes for our core. If the shape of your rose is a little bit different than mine, that's totally fine. What is important is your whole composition is a little bit similar to my creation. So keep on creating your rose until you reach your desired size. Now, that I'm done with my creamy rose, I will be adding some leaves. But oops, as you can see here, the color bleed too much. That is because maybe my last petal is too wet. What I'm going to do here is I'm going to lift it using a clean brush and remove some excess color. Same thing as the one I did earlier, I added some darker shades of green on some areas of my leaves. Now time to add smaller leaves. So I took my brush and created a small stem, and then added smaller leaves. So this time what we're going to do is we are going to add some fillers, and I will be using a muted shade of purple, which is something like this. You may use any color that you think is compatible to the colors that you use earlier. But for me, I will be using this beautiful shade of purple. After adding your fillers, we are going to connect these using a shade of green and then added a little bit of small leaves on some areas. Then to finalize our fillers, we are going to add something on the core, so I will be using yellow ocher and using my size 2 brush, I'm going to add details on the core of my filler. 19. Pastel Roses Painting: Details: It's time to add some details on the other side of our painting. I turn my painting. It will be easier for me to paint fillers on the lower left side. Same procedure, I am going to use this beautiful shade of purple, and in painting filler, just like what we have studied, we are going to use different water and color ratio for each petal, just so there will be variation and there would be a little bit of detail on our filler. After creating our filler, we're going to connect it using some greens again and add some tiny leaves. Same thing, we are going to add something on the core of our filler. Using yellow ocher, we are going to create some tiny lines. Our painting is slowly coming to life, and I hope yours is looking good as well. Basically, our painting is almost done, probably 90% done. What we're going to do now is, we will be adding some leaves around our painting. We can fill the empty spaces on some areas. I want you guys to do the same thing also. I want you to mix small leaves and big leaves. I want you to use different shades of green, different water, often coloration of the color of your choice. Just enjoy the process, play with colors, play with water, and have fun. Now one of my favorite details when painting a bouquet is adding small ratchets like this and I want you guys to create the same. My painting looks complete now, but I feel like I should add some big leaves on the top part, so that's what I'm going to do now. All the things that I after this one is just some things to fill the empty space of my painting. Last slip. I promise this is the last. I think our painting is now complete. I hope you guys were able to follow along and I'm excited to see your final project related to our second final project. Don't forget to upload your project on the project section of our class and again, we have a giveaway ongoing. If you upload your final project and leave a review on the review section, you'll get a chance to win this beautiful watercolor painting set from Art Philosophy. This is a vintage pastel watercolor set. Again, giveaway is open for international and local students. I want to see your work. See you on our next final project. 20. Expressive Roses and Dog Roses: Initial Strokes: Hello everyone. We are down to our last final project and I'm very excited because this third final project on this workshop is my favorite. This is a combination of our roses version 3, which is the Advanced 1, and our dog roses. What are we waiting for? Pick up your brush and let's get started. Now, as per usual, we will start in painting or a dog roses and again in painting dog roses, you will mix different water and color ratio for each of your petals. On this dog roses, I'm using a light shade of pink, which is a little bit of a flash shade. Again, you may use any color that you want, but it would be better if you will use a pastel color. Just continue creating your dog roses and here I'm adding some details on some parts of my dog rose. I'm going to let this layer of my dog rose dry first. Now I'm going to add another one. This one is in creamy white color and again, you may use any color that you like. My dog roses are already dry, actually in cold state. Now I'm adding a butter mixture on the spaces between the petals so there would be a separation for each petal. As usual, we are loading our brush with clean water to soften the edge of the separation that we have created. I'm going to do this same to my pink dog rose. I hope you guys are following our steps. We are now done with a base layer of our dog rose and for now we're going to leave with these two flowers and proceed in painting our roses. Again, for our roses, we're going to do the advanced ratio, but again, you may use other versions of roses that you would like to create. For the rose, I'm going to do the core first. I'm using size 2 round brush here to create a very detailed core. Once you're done with your core, all you have to do is keep on creating the strokes and make it bigger as you go out. This part, your rose is slowly coming to life and I hope you guys are following over there. In here I use potters pink. Now, to take advantage of the cold state of my rose, I'm going to add some leaves around it. The color of my leaves is actually a mixture of shadow violet and the see green and vintage brown. This is a gorgeous vintage shade of green that you can mix. Just keep adding leaves until you think that the spaces around your rose is a little bit filled already. Let's add more leaves in this area. Let's add more leaves in different shades and color and I'll see you on the next part. 21. Expressive Roses and Dog Roses: Details: We are not yet done with the leaves, so I think we should add more leaves on this area and add more in here. I want you guys to be more carefree and to have more creativity when adding leaves so you don't have to follow everything that I'm doing here. I'll also be adding some leaves on the top part to fill some empty space. This is a big leaf and as you can see, it has a very nice shade of green in here. Again, this is some extra shadow green, undersea green and Van **** brown. Now time to add the last main element for this painting. I will be adding a rose in this side and again, I will be using watery pink for that rose. Let's go and create our core. Be sure that the size of your rose is just usual, just normal. It should not be too big and not too small. It's time to add another version of leaves so I'm going to add some more here, especially this time that my rose is still wet. As you can see, there's a beautiful granulation of color on this part so it came from Potters pink. Potters pink is from Daniel Smith. As we know, Daniel Smith's color got a lot of granulation. Some artists don't like that, some love it. I think I love it personally because it adds a lot of texture and detail on your painting. I want you guys to keep on adding leaves on the empty spaces and then after that, we are now going to proceed on our dog rose. I'm adding some details on my dog rose here, adding tiny lines as usual. Then after this one, I'm going to proceed with my other dog rose. Again I am using yellow ocher and size 2 round brush. Let's proceed in painting the core of our beige dog rose. I will be using yellow ocher again and size 2 round brush for the core. Now that we're done with the base layer, I'm going to get my raw umber and add some raw umber on the details of my pink dog rose, so tiny dots and tiny lines. For the final detail, I am going to add raw umber on one side of my small circle. Of course we're just going to do the same thing on our beige flower, which dog rose, so tiny dots using raw umber. By the way guys, if you don't have raw umber, you can mix it by mixing yellow ocher and Van **** brown. By this stage, most of you are probably done. But if you still feel like adding some more details, you can add some tiny branches or tiny leaves around your painting to add a little bit more of details. If there are still empty spaces left, you can fill it with different water in coloration of your color green. That would represent leaves at the back and in front. For me, I think I'm done with my painting and I'm so happy that we guys are able to finish this composition, and I'm so excited to see your work. Again, please upload your final project on the project section and you may get a chance to win a watercolor set from Art Philosophy. It's a Vintage Pastel watercolor set. Thank you guys for watching and I'll see you on the next one. 22. Thank You Notes and Announcement: Thank you so much guys for attending this class. I hope you guys enjoyed as much as I did. For your final project, please upload it on the final project section of this class. I would also appreciate if you will leave a review on the review section. Guys, we are having a giveaway right now and for those who will be uploading their final project under review in final project section, you get a chance to win a vintage pastel watercolor set from Art Philosophy. This giveaway is open for international and local students, so I hope you guys can join. Thank you so much and I'll see you on our next workshop. Bye.