Roses Watercolor in Vintage Tones

1. All About This Class: Water color is one of the best mediums, if not the best, for me, because I think it's perfect for beginners. It's not difficult, to start with, it's handy, you can bring it anywhere, and it's cheaper compared to other mediums. Hi. I'm Jenny Flores. I'm an artist from the Philippines. Today, we're going to talk about roses, specifically watercolor roses and vintage colors. This may look intimidating, but as long as you want to learn, I'm sure you're going to get a gorgeous piece on this class. I'll be sharing with you all the materials that you need to start with. I'll also be sharing with you some recipes that you can use to mix regular colors in order to arrive on beautiful vintage tones. I'll also be sharing with you the essential watercolor techniques that you need to learn, as well as the brushstrokes and of course, the water and color ratio. That one is very important. Of course, this is not complete if we're not going to learn how to paint roses, so I'll be sharing with you all the techniques that I've learned from the past five years in painting roses. We're going to paint roses, we're going to paint leaves, we're going to rosebuds, and of course, we are going to paint bouquets and reeds. When I was starting out, one of the challenges that I faced was creating a composition that doesn't look awkward, because most of the time before, when I was a beginner, I usually end up creating composition that has a lot of non-essential elements, like too many leaves, too many fillers. So today, I'll also be sharing with you the tips and tricks that you can use to avoid those mistakes. This is really a jam-packed class, so we better be starting. Now, pick up your brush and let's get started. 2. Materials We Need: Hi guys. For this topic, I'm going to share with you all the materials that we need for this class. Let's start off with papers. For paper, I am using the Baohong Academy watercolor pad. This one is in 10.2 by 7 inches and it's 300 GSM. Of course, it's 100 percent cotton acid-free. You may use any brand of watercolor paper as long as it's 100 percent, especially if you're doing the final projects. Next is, my brushes. I am using these three brushes. First is the silver black velvet in size 2. Next is silver black velvet in size 6. Lastly, the silver black velvet in size 8. You may use any round brush as long as it's in 2, 6, 8, or maybe size 4 or size 10 is also okay. But the important thing is you have to make sure that your round brushes are pointy because pointy tips will be very useful for our class. Next is tissue. So you need tissue paper or rug. Then you also need a watercolor palette. You may use ceramic or plastic and a cup of water. You may use, again disposable cup for this one one you want to. Also if you don't have a separate watercolor palette, you may actually use the back of your watercolor case. Like in here, you may use this side, sorry if this one is messy, but again, you may use that part of your case. Just to recap, the things that we need are watercolor palette, cup of water, brushes in size 2, 6, and 8. Watercolor paper in 100 percent cotton and tissue or rug. I'll see you on our next topic. 3. Colors We Need: Hi everyone. On this topic, I'm going to share with you all the colors that we need for this class. These colors will be used later on to mix our gorgeous vintage colors. First color that we need is perylene red or any shade of red actually. It doesn't have to be perylene in red from Daniel Smith, but I will be using perylene red from the Daniel Smith. Next is ultramarine or French ultramarine. I have this one from the Daniel Smith also. Next is, yellow ocher or yellow ocher number 2, and again, you may use different brands. This one is from Angelo and the other one is from Shinhang. Next color that we have is raw umber. This one is from Shinhang, but this one is optional. We can mix this later on, so you don't really have to get this color. Another important color is olive green. Again, you may use any brand that you have. Next is Van Dyke Brown. This one is very important, so make sure you have a shade of Van Dyke Brown. Next is sepia. Be sure you have sepia on your pallet because this one is very important in mixing vintage colors. Last is a white gouache or white titanium if you don't have any white gouache. Before I end this topic, I will first show with you the shades of this color so that you can compare it to what you have in your palette right now. First color that we have is perylene red. Any shade that you have that is similar to this shape is good, so we'll pick that. This is what a perylene red looks like. Next color is French ultramarine. Any shade of ultramarine will be similar to this. It can get ultramarine light or deep ultramarine. It's nice, is something like this, you are good. Next, this yellow ocher and then olive green. Then we have Van Dyke Brown. Van Dyke Brown in different brands have different shades, but that's okay as long as it's similar to this one or close to this one. Next, we have sepia, and of course, white gouache. This one is very opaque compared to water color. I love using white gouache. But if you don't have this one, It's okay to use titanium white or maybe use Chinese white. These are the colors that we need, and I hope you guys can complete them. Again, use whatever brand or whatever shade that is close to this colors that you have. I'll see you on our next topic. 4. Water and Color Ratio: Welcome to this newest topic. On this topic, we are going to discuss the three water and color ratio. These are tea, milk, and butter. Tea is a bit watery. It has 75 percent water and 25 percent color in it. While milk mixture is watery as well, but it's more pigment than compared to tea mixture. Let's say it has 50 percent water and 50 percent color in it. While the butter mixture is more concentrated of all, it has approximately 75 percent color and 25 percent water. Know that all of these are just approximations and they are not the exact ratio of these colors. I just named these because they resemble to tea, milk, and butter. This is our guide later on when we create our paintings. I will show you some examples how we can use these guides for our paintings later. Now I'm going to show you how to make tea and milk and what their mixture is. I'm going to use olive green and my silver black velvet brush. I'm going to load my brush with water and pick a bit of the color, which is olive green. As you can see, this one is too concentrated, so I'm going to add more water in this. This one is good, so I'm going to test it. As you can see, this shade is watery but still, there's a bit of color. Now, I'm going to try it on milk mixture. I'm going to add a little bit of color. I'm going to test it. As you can see, this one has a little bit more color compared to tea mixture, but still it's watery. Now, I'm going to try the butter mixture where I'll just wet my brush and then directly pick my color. As you can see here, it's very pigmented, it's very strong and it will surely make a good color on my painting. Now, let's go try these three different water and color ratios on leaves. Again, I'm using olive green here. This one is in butter mixture. Again, I wet my brush and try maybe milk or tea. Again, as I've mentioned, the three water and color ratio are just estimation. Later on, you will discover colors in between these three mixture and that is okay. I just share with you these three ratios just so later when I'm guiding you in painting bouquets, it will be easier for us to address and for me to guide you on different shades of colors that you have to use. As you can see here, I use different mixtures. It gave a lot of effect on my painting. Now, I'm going to show you how I apply tea, milk, and butter on my bouquets. Here's one example, as you can see there are different types of leaves here. This one is in tea mixture and it represents leaves in the background which are not very visible. This one is another leaf or another leaves, and they represent leaves in the middle. This one is strong leaves. They are in butter mixture because they represent those that are in front. Another one is for the [inaudible]. As you can see here, some petals are in tea mixture, some petals are in butter mixture. Having different shades of one color, and even in just one flower gives a lot of difference in UDP or painting. Again, guys, I want you to familiarize yourself in water and color ratio because this is important in creating beautiful paintings, not just bouquets, even in landscape, even in human figures, you will use these mixtures. If you're just starting in watercolor, familiarize yourselves with water and color ratio. Again, just a recap. If you want things in the background, leaves in the background, you use tea mixture. If you want stronger color, use milk mixture, and if you want details and super-strong color go for butter mixture. These are our watercolor ratios, and I'll see you on our next topic. 5. Watercolor Techniques: Hello, welcome again. For this topic we are going to discuss watercolor techniques. I'm going to share with you some watercolor techniques that are very important in creating a beautiful rose composition. First is wet-on-wet technique. Okay. How do we do the wet-on-wet technique? First, you will create a stroke. This stroke is still wet because of course, we loaded our brush with water. While this first stroke is still wet, we are going to load our brush with another color or maybe with the same color and add a stroke on top of our first stroke. As you can see, the second stroke bleeds through our first stroke. Let's do another one. I'm going to create another wet stroke, and then while it's still wet, I loaded my brush with blue and then created my second stroke. As you can see, the color is bleeding through my first stroke. It's not defined. The stroke is not defined. It's slowly bleeding. Now, how do we apply the wet-on-wet on our panting? Let's say this is your rose and then I'm going to add some green, which represents the leaf. As you can see, the green is bleeding through the old rose, which is the rose. This is what happens when you do the wet-on-wet technique on roses. Later on we're going to do that. I'm going to show you now how I apply the wet-on-wet technique on petals of the rose. Let's say this is your first petal and while it's still wet, you're going to add another petal. As you can see, they're mixing. Later on, you will understand what I'm talking about here. But for now, let's go and discuss the other watercolor techniques. The next technique is the wet-on-dry technique. I'm going to create my first stroke and I'm just going to wait for this one to dry. While waiting for that one to dry, I have this sheet with dry strokes already. I'm going to use this one first. I'm going to put some stroke on top of this. As you can see, since it's already dry, it did not lead unlike the other one that I did earlier for the wet-on-wet stroke. That is what happens when you do the wet-on-dry technique. I'm going to show you now how you can apply this technique when creating some effect on your leaves. In here you can add some details like this. You will apply the wet-on-dry technique when you do this. I usually do this before, but right now I changed my style, but this one is also a nice style to do. You can do this, apply the wet-on-dry technique. Here's how we can apply those two techniques on our bouquet. This one in here, I do the wet-on-dry technique. As you can see, rose is already dry when I created the leaf. Now in here it's the wet-on-dry technique also when I added the detail in the middle of the fillers. Next in here, I applied mostly our wet-on-wet technique. As you can see, colors are bleeding and it really gives a beautiful effect on my painting. In here it's also wet-on-wet technique. Now we are down to our last technique and this one is called the lifting technique. The first thing that we're going to do is of course, create one stroke. For this one, usually I use a dark tone or a dark shade of color. Then I'll pick up my tissue and then lift the color while it's still wet. As easy as that. This one is usually used when you accidentally created a blob and you want to correct your stroke. So this one is like an eraser for watercolor. Before we move on to our next topic, let's just do a quick recap. First watercolor technique is the wet-on-wet technique. Second is the wet-on-dry technique, and third is the lifting technique. Always remember these three watercolor techniques because they are very important and I want you guys to master them. In the future these will be very useful to you guys. Okay, see you on our next topic. 6. Brush Strokes: Now, we are down to our next topic. This time I'm going to share with you the important brushstrokes that you need in order to create a beautiful rose composition. We got a lot of things to cover. Let's start. The first stroke that you need to learn is the thin strokes. Before we begin, I just want to share with you that I'll be using size 2, 4, 6, 8 round brush in here, but you guys can use any size of brush as long as it's round. Thin strokes. For thin strokes only the tip of your brush will touch the paper. You can do this diagonally, horizontally, vertically, it's up to you, but the main point here is only the tip of your brush will touch the paper. I also want to remind you that you should not put a lot of stress on your brush and make sure the weight that you put in is just very light. I'm going to use this tiny number 2 brush this time. Here's how we do the thin strokes using this kind of brush. As you can see, it can create a very thin strokes and this is very nice for adding details to your painting. Again, the goal here is to create very thin lines. But of course, some of you are still transitioning, still adjusting, and that is okay. I just want you guys to keep on trying, keep on creating thin strokes using the tip of your brush. There may be times that you will create a thicker strokes and that is okay. Just keep on trying. The next stroke that I would like you to learn is called thick stroke. In here, the whole body of your brush will touch the paper. Just copy what I do here. Here your brush is facing the left side. I'm going to try doing the thick stroke using my size 2 round brush. As you can see here, the stroke that I can do is very thin and it easily dries up because since my brush is too small, it cannot load a lot of pigment and the water. Next stroke is the flat stroke. In flat stroke, we are going to use the whole body of our brush and this time our brush is facing this direction. Well, this is how we do it. It is just as if your highlighting something. The whole body of your brush is maximize. Just keep on doing it until you become comfortable using your brush. Let's try it using size two round brush. As you can see I can still create a big flat stroke, but not as big as my size six. The next set of strokes that we're going to study are combination of strokes that we've learned earlier. First one is a combination of thick and thin strokes. First, create a thick stroke and then slowly release it. Again, thick and then release. Once more, press and then lift. You really have to master this stroke because this is important in creating our leaves later. Please try your best to create this stroke. Just a reminder, a secret in creating this stroke is to do it slowly. Don't be in a hurry. No one's asking you to be in a hurry. Especially on the drills, do it slowly. When you're creating a composition, that's the time when you have to be a little bit fast. But on drills, take your time. I'm using my size two brush here and as you can see, it can create that stroke, but it's too small. Next, I want you to practice more, the combination of thin thick thin strokes. In here, we're going to connect two sets of thin thick thin. Again, do it slowly and be mindful of the strokes that you're creating. This is another view just so you can see how I do it. The next stroke is the C strokes or the curved strokes. This is one of the important strokes that you have to master. This is how we do it. All you have to do is to create thin and then thick and then thin. But this time we're going to make it a little bit curved. As you can see, it's a little bit on a C-shape. Thin thick thin. Let's practice it and try to do it in a small, medium, and large brush on. Thin and then a little bit release. The size will vary based on the amount of pressure that you will give on your thick stroke, and it will also depend on how long you will drag your thick stroke before you release it. Again, this is one of the important strokes that you have to master if you want to create a beautiful loose roses. If you have to re-watch and re-watch this video. Again, thin, thick, thin. The reason why this one is very important is that later on we will use this stroke for creating petals on our roses. Please master this one. Also as you go out or as you make your petals bigger, I want you to add wiggle when you're dragging the thick stroke. This is how we do it. I am back to bigger brush this time I'm going to use size eight. It's nice to have bigger brush because you can create as big as these kinds of strokes. If you're creating a bigger rose, then use bigger brush. I'm going to use size two. This one is very important also because later on when we create the core of the rose, we need smaller strokes, and using smaller brush would be easier for us. For our last stroke, I just want you to create random thin strokes in curve version. Later on you'll understand why we really have to try and practice this one. That is it for our brushstrokes. I hope you guys will take time to practice this one. If you really have to, you can always re-watch this or watch this on a slower speed. You can watch this at 0.5 speed if you find my teaching style a bit fast. I'll see you on our next topic. 7. Painting Vintage Leaves: Hi everyone. Welcome to our newest topic, which is leaves. Leaves are very important because it really gives an effect on your painting. It is important to master how to paint leaves, whether it's a simple leaf or something that is raw and glamorous. I want you guys to take this lesson seriously because this one is very important. Now, let's start painting leaves. One of the ways to paint a leaf is by doing the one stroke technique. All you have to do is to press and then lift your brush. Press and then lift. Again, let's try it. Press and then lift. Let's continue doing it until you familiarize yourself with the stroke. Press and then lift. I am using size 8 brush for this one, but you may also use size 6, size 4, or size 2. It depends on what size of leaf are you trying to create. The bigger the leaf, the bigger your brush size should be. I want you guys to take time in doing this. Do it slowly because some students are doing it like this. As you can see, when you do it fast, you will not get the thin tip that you are aiming for. That is not how we do the leaves. Do it slowly and aim for the thin tip. Of course, you can also use the one stroke technique in doing leaves like this, in this direction. It's easy. All you have to do is press and then lift. Now, the next leaf is called the combination leaf, wherein you will combine two C-shaped strokes and create a one leaf. This is the first stroke, press and then lift. But in here, you will see it's in curved shape. Press and drag it a little bit, and then lift. You will notice here that it is in curved shape. Here's another one. Now let's try it, but this time, we'll do it going into the other direction. Now, this time, we will combine these two strokes. First stroke and then second stroke, and that is your leaf. You will see here that you can create big or bigger leaves when you use this technique compared to the one stroke technique. I'm going to try it with my smaller brush this time. Now, this is the part where we will add details to our leaves. Let's say we will do the two strokes or the combo leaf. First stroke, let's do it. Then after that, we will add random thin strokes on the outer part of our leaf. As you can see, it add a lot of details to our leaf compared to the clean version that we did earlier. Now this time, I want you to be more carefree in doing your leaf. Just don't care if you're doing thin strokes or thick strokes, make it less clean, more rugged because that is how I do my leaf and that is what I want you guys following today. If you follow me on my social media channels, you would notice that my style is really not the clean style. I always wanted to be raw and rugged because I feel like it looks more natural when it's not clean and I don't want my work to look like clean illustration. I want it to be loose and carefree, and that is what I wanted to pass on you guys. But of course, if you want the clean version, you may always do it. Now, again to do this, just create the combo leaf, one stroke, another stroke, and then add thin strokes or a combination of thin and thick strokes around it. Last one. This is another way to add a dramatic effect on your leaf. Create the combo stroke or the one stroke, it's up to you, and then get a darker shade of the color that you use, and then dab it on one side. Let's practice one more time, this strokes and then get a darker shade. You don't always have to add it on the left side. You may add the dark side on the right side or at the bottom only, or at the top only. But the point here is, add it on one area where it will look like as if it's a shadow. Now, if you want your leaf as a filler, that is also possible. You may create a smaller type of leaves with a little branch in between them. Here's how you'll do it. First, create a curve with thin strokes. I want this to be curvy and then add your small leaves. You may do the one stroke or the two stroke leaf in here. I want your branch to be curvy because it just makes it more natural looking. While doing this, I want you guys to combine different types of water and color ratio. Make sure to use the butter and milk or even just tea and milk in here, just so there will be variety in your leaves. Let's do it again. Guys, if two samples or three samples is not enough for you, just pause this video and/or re-watch this video and do it. I want you guys to practice this one even if you all ready finished the class, just so you will master how to do these things. In the process of doing this, you might develop your own style of painting leaves or painting roses later on. That is okay, that is actually better. Now, time to apply everything that you've learned when it comes to leaves to our roses. How do we put this leaves into our roses? Let's say this is your rose. While your rose is still wet, immediately put your row leaves because this will bleed the color of the leaves, will lead in your rose, and that gives it a lot of natural and raw effect. But make sure that your rose is not too wet to the point that everything will mix up all ready. Just make it a little bit wet to dry, not so flowy, not so watery. Let's add the filler leaves. The best place to add leaves is, of course, beside your rose. But if you're having a hard time when it comes to bouquet all ready, find the V areas wherein two roses are adjacent to each other, the space in between them is the best place to put a leaf or leaves. These are our leaves and hope you guys were able to follow along. If you were not able to do it the same way as I did, just keep on trying. I'll see you on our next topic. 8. Painting Vintage Roses: We're down to one of the most important topics of this class and yes, it is painting roses. You really have to learn how to paint loose roses, especially if you want to pursue the loose floral painting style. There are different ways to paint loose roses. In this artwork, there are different ways that I painted roses and David Austin roses. This artwork has three different types of roses. Each of these roses are painted in different style. Another one is this one and there is also in here, which is also another way to paint roses. There are different kinds of roses, so there are also different ways to paint them. But today I'm going to show you this style, which is one of my favorite style in painting roses. Later we will be painting some gorgeous pieces and we will be using this painting style in painting roses. There's another surprise artwork that we'll going to do, but I'm going to show it to you later. Let's start painting roses. For this one, I'm going to use size eight, size six, and size two round brush. First step is, of course, painting the core. How do we paint the core? Remember the C strokes that we practiced earlier? The smallest C strokes and the random thin strokes. That's how we will paint the core. All you have to do is press and then lift and then press and then lift your brush so you can create C strokes. As you go out of your core, your strokes are getting bigger. When you finally reach the size of the core that you want then the next step that you have to do is get your bigger brush, either it's size six or size eight, and then load it with water, makes sure that it's clean water. Then you have to soften the edge of the last strokes that you have created. Before I forget, your core should be in butter mixture. Butter mixture, don't forget that. If you're done doing that, the next step is to get another brush, either size six or size eight, and then load it with color again. This part should be in milk mixture. Same instruction, create C strokes and mix it with a little bit of random thin strokes. In this, same principle applies once you have created the stroke, get your other brush and then load it with clean water and then soften the edge. Remember that as your stroke go further away from your core, it gets bigger. It's important to have a bigger size of brush, better if it's size eight, size eight 3D is the best size for painting roses because especially if you have a pointy brush like Silver Black Velvet. Because it can create nice thin strokes, but can also create big strokes because of its big belly. It can hold a lot of pigment and water. That's why I always use Black Velvet for my roses. When you're done with your base rose, get your small brush and then load it with butter mixture and then add a little bit of detail on some areas. You will add on some areas only, not on everything because if you add a lot of details, you will ruin your roses. This is how I do the details. Now we are done with our rose. Now the next step is, of course, add our row of leaves. This is how I add leaves on my rose and this is what we have studied earlier on our topic, which is leaves. As you can see, adding leaves really gives a lot of character on our roses. It's very important not to give up on your rose when you first see it, add leaves first because maybe you just have to add details and leaves on your roses to make it look like a rose. Let's try painting roses once again, this time I'm going to use a bit of pinkish color so you can see how your rose will look like with this color. For the core, I am using a round brush in size two. This one is Silver Black Velvet and for the color, it's in butter mixture. Again, all you have to do is create C-shaped strokes and combine it with thin strokes. Now I'm going to switch my brush to a bigger brush with water. Again, I'm going to load it with clean water, and then soften the edge of my last strokes for my core. I'm going to switch my brush again and then this time I'm going to load it with milk mixture to create bigger C-shaped strokes for my petal. Soften the edge, and then create more petals. One of the questions that I usually get is, when should I stop adding petals? This is actually three key, I guess. It's just a matter of practice and discipline to know where to stop. But for me, I guess it's something like this, your core should be half an inch and then the thickness of all your petals combined should not reach two inches. So 1.75, 1.5 is okay. But more than that, it's already over and your rows will look awkward already. Now I'm going to add details using butter mixture and I'm using size two round brush. Then I'm going to soften the edge of these strokes using my brush with clean water. That is my rose so now I'm going to add a little bit of leaves. Choosing the color of hair leaves also depends on the color of your rose so make sure they complement. Some greens are in the bluish tone and some are in the warmer tone, which is the yellowish-green. It depends on what type of bouquet are you going to create so be sure to use complementing color. Let's try it for the last time. Again, paint the core, using a small brush, I'm going to use size two round brush. In creating your core, all you have to do is create small C strokes. Now change your brush and load with water and then soften the edge of the last strokes of your core. Next step is change your brush and load it with milk mixture of the color that you're using and create bigger strokes. Again, as you go away from the core, make sure that your strokes are getting bigger, and then same thing, soften the edge of your strokes. Next step is to get a butter mixture and use a smaller brush to add details. When you're done, add leaves. Again, make sure that the color of the leaves that your painting is complementing the color of your roses. Just like what I always tell you, sometimes you will not get that first try and that is okay, it took me years to get this kind of rose. That is okay if you're not going to get it right right, all you have to do is go back to this lesson, re-watch it and retry it. Also, don't forget to try and practice it every day even if you were able to get it today because it will give you confidence, plus it will help you retain it to your memory, how to do things. Let's go to our next topic and this one is very exciting. See you there. 9. Painting Vintage Rose Buds: Hello everyone. Welcome to our newest topic. In here we are going to discuss how to paint rosebuds. For this topic, I will be using three brushes. The silver black velvet in size six, size two, and size eight. Now, let's go and study. First thing that you need to do is to paint the core. Like how we did on the main roses, we're also going to create random C strokes in creating the core of our rosebuds. After creating the core, we are going to soften the edge by loading our brush with water and applying it to the last strokes that we have created for the core. Now next, add a small diagonals stroke and then add some random then strokes. Finally, to create the buddy, you have to create this S-shaped strokes and add another one on the other side. Now, after doing and adding a little bit of details, you will fill in your rosebud, but still you have to leave at least a few white spaces. Now, I have already created the body of my rosebud. It's now time to add details in darker strokes. In here, I'm filling some areas with a butter mixture of my raw umber. In adding details, be careful not to overdo it. Don't add a lot of details to the point that you already covered everything. Once done, you will soften the edge of the details that you have created by again loading your brush with clean water and stroking it on the butter mixture that you have created in here. I know some of you may not get this on their first try, but that is okay. Now a rosebud won't look like a rosebud without leaves, so we're adding some role leaves in here. I'm just using a vintage green shade and that is it. That's our first rosebud. Now, let's do it again. Again, we will start by doing the core of our rosebud. In here I'm going to use a size six round brush and just create a random C strokes with combination of thin strokes. I'm going to create the last stroke, and then the S stroke and its partner. Now, I'm going to fill in this space to create the body of my rosebud and just complete some other details. After doing this, of course, I'm going to add the butter mixture of my old rose shade and soften the edge. If you're still having a hard time following this, just rewatch this, I'm sure you will get this in no time. This is so easy and this is just a bit complicated in the beginning, but this is something that I'm sure you guys will understand when you keep on watching it. I added leaves and we'll add a bit of darker leaves and then we are done. Let's do it again, but this time I am going to soften the edge as soon as I have created the strokes. This method is for those who are slow in moving. We have to move fast before doing the method that I did earlier for the first two rosebuds. This one is for those who feel like they need to take time in creating strokes. After doing the strokes, soften the edge immediately. Like in here this one is a stroke. I'm going to load my brush with water and soften the edge immediately. Like on the yellow rose earlier, remember, we just created everything, and then after doing everything, we soften the edge, so we'll not do that in here. We'll do it the other way around. Again, this is for those who find it hard to move fast in creating strokes. Because as you know guys, watercolor is a medium that is highly dependent on water. The water will actually dictate the output of your painting. Now, the last rosebud that I will do is actually for those who weren't able to do it correctly. If you have created an arrow, this is what you should do. First, of course, we're going to paint SS, create the core. Then create your bigger strokes, and the S strokes. Now fill in your rosebud, don't forget to leave white spaces. In here it's so obvious that my rose is a bit an off shaped, so this is not a good sign. I'm adding the details. As you can see, it looks like a muffin instead of a rosebud. Later, I'm going to try to correct this one. Now, I'm going to correct it by lifting it. I got a tissue and then lift the colors just to create a bit of white spaces again, so I can start all over again. Now that I feel like it's already okay, I'm going to add some leaves. But as you can see, even though I was able to revive it a bit, it's not as good as my first three rosebuds. Again, tried to create it the right way immediately. There are ways to revive it, but it won't be as good. Here are the four kinds of rosebuds, and I hope you guys could learn how to paint this if you're having a hard time and just rewatch this topic and just keep on trying. I want to see your rosebud outputs later and I hope you guys can upload it on the project section. I'll see you on the next topic. 10. "Vintage Yellow Flowers" Part 1: Hi everyone. We are now here on our first final project. I am very, very excited to see how you guys will apply everything that you've learned in this class. For the first part, we are going to mix all the vintage colors that we're going to use first. Here are those colors. First is this muted shade of yellow. Later on I'm going to share with you what color is this. Second is this beautiful shade of old rose. I know you guys love this color so much. Third one is this beautiful shade of cream. This one represents our white flowers. The last one for this batch is the vintage green. We are going to mix all these beautiful colors. Now let's start with this beautiful shade of muted yellow first. Color reveal, this one is actually raw amber. If you have raw amber on your palate, you don't have to mix this one anymore. But if you want to learn how to mix this, go ahead and follow our class. For this color, all you need is yellow ocher and Van Dyke brown. You may use any brand. This one is from Shinhan, but you can also use the ones from Mijello and other brands. Now let's try mixing it. For mixing, I'm going to use this ceramic palette. I'm just going to get a tiny bit of my Van Dyke brown and a little bit of my yellow ocher. For this demo, I'm going to use Mijello. But again, you can use any brand. Now I'm going to get my brush. I'll be using my black velvet in size 8 for the mixing, and I'm just going to get a tiny bit of both of these colors and mix them. If you want to get butter mixture of the color that you're mixing, just remove a lot of water from your brush and pick more colors. Same thing applies, more color and less water if you want to get the butter mixture. But if you want to get the mixture of the shade that you are mixing, then go ahead and add a lot of water. I think we got the mixture that we're looking for. I hope you guys get it too. If you haven't, then just keep on trying. Again, for this mixture, all we need is a bit of yellow ocher and a bit of Van Dyke brown. Now let's go proceed to our next color. This one is a gorgeous shade of old rose that I love mixing. In here we are going to mix perylene red or any shade of red and then sepia. You may use any brand of sepia. Let's do it. I have this sepia on my half pan, so I'm going to use this one. Then I'll just add a little bit of red on my palate. Let's go and start mixing. Just adding a bit of sepia. Perylene red is a strong kind of red, that's why I only added a little. But if your type of red is not so strong, then I suggest you add more red. I'm going to add a little bit more because I think my mixture is too dark, so I'm adding more red here. Now I'm going to test my mixture. As you can see, it's almost the same. You will notice here that my mixture is exactly the same as the ones that we're trying to achieve. If you haven't got it, just keep on mixing. Again, just use red. I'm using perylene red and sepia. Now let's go to our next color, which is this beautiful off-white. I'm going to use yellow ocher and white wash and a bit of Van Dyke brown for this one. Let's go and mix it. We're just going to mix a bit of each color. I'm going to get my yellow ocher and more whitewash because this is my main color, and I'll be adding a bit of my Van Dyke brown. I think my mixture is too yellowish, so I'm going to balance it with more Van Dyke brown and just a tiny bit of yellow. I added a bit more Van Dyke brown. Let's see. I think this is the shade that I am looking for. As you can see, it's very close. Later on when this one dries up, you will see that this is too close to the one that I'm trying to get. Again, we only need a bit of yellow ocher and a bit of Van Dyke brown and of course, our whitewash. Let's go to our next color. This one is this beautiful vintage shade of green. In here I am going to use three colors; olive green, my favorite, Van Dyke brown, and sepia. Let's start mixing. As usual we're going to get a tiny bit of each color and we're going to mix them on our palate. This one is olive green. I'm going to get a bit of my Van Dyke brown. In mixing greens, you will discover a lot of beautiful shades along the way. Note that and use that for your painting. If you were unable to get the color that I'm mixing right now, that's okay because I'm sure that along the way you will be able to produce something that is nice and something that is perfect for your paintings. Take note of that mixture and create your own little book of recipes. Finally, I think I got this one. I'm just going to add some more on my mixture. Again, even if you weren't able to get the exact mixture that I was trying to get or I was able to produce, that is okay. The point here is create a beautiful mixture of yellow, pink, white, and green. If you're satisfied with the colors that you get, that's totally fine and that's what we're going to use later on our first final project. Thank you guys and I'll see you to our painting session of the first project. 11. "Vintage Yellow Flowers" Part 2: On this part, we are going to paint our bouquet already or flower arrangement. We're going to place our first flower here and our second flower here. I will be using my usual brush. This is the size six-round brush from Silver Black Velvet. I will also be using my ultra round brush in size 10. This is called the natural and this is similar to size number 2, round brush. Now let's paint. First, we will start with the core. Applying what we have learned on this workshop, so we're going to create small C strokes for our first rows. What I love about the ultra round brush, is it's so pointy and it's so easy to create small strokes. Now that I'm through with my core, I'm going to soften the edge of my last strokes. This is using clear water on my brush. Now I'm going to switch with bigger brush and I'm going to create bigger strokes. I'm creating bigger strokes, I'm giving you this angle so you can see how I do it. Now I am done with my first rows. Now I'm going to proceed with my second rows here. First of course, let's create the core. Now I'm going to proceed with the bigger strokes. Time to put our leaves, so I'm going to use a milk mixture of my green, and I'm going to put some big leaves on some areas. Let's continue this project on the Part 3. 12. "Vintage Yellow Flowers" Part 3: Now this time I'm going to put the little fillers, so I'm going to use size 2 round brush. I will just be adding the small strokes like this. I'm combining different water and coloration just to give it a little bit of variety when it comes to petals. I'm just going to wait for this one to dry before I add the details inside. Using my small brush, which is number 2, I'm going to add some details inside my fillers, so I'm just going to use Van Dyke brown and add some small stripes inside my fillers. Now, I'm going to add some small leaves for this fillers. Again, I'm going to use my small brush, which is size number 2 round brush. For the green, I'm just using the regular green. But you may mix your olive green with your Van Dyke brown, if you want to tone it down. Now, we're going to add the same set of fillers in this area, so same color, yellow ocher. The fillers are still wet, so I'm just going to connect that with my green. The feathers are still wet so instead of adding the details, I will just proceed with the other filler, which is the one in old rose shade. I'm going to paint it on this side. This is how we do it, just a simple stroke like this. To balance it out, we will be adding the same filler on this area. I'm going to connect these fillers using my green. It's as simple as this one. I'll also be adding some small leaves to add a little bit of details. The feathers are already dry, so I'm going to add details inside. Currently our painting seems a little flat, so I'm going to add some darker leaves to add a little more depth to our composition. When you add different shades of leaves, it gives it an illusion that there are leaves at the back, there are leaves in front. If you only have one shade of leaves, then it makes your artwork look more flat and more boring. Make sure to add different shades of green to your painting. Also, don't be afraid to layer elements. You can put leaves in front of another one. You can put fillers in front of a leaf. Don't be afraid to layer your elements. Now we are done with our project. This is our final project number 1. I hope you guys were able to follow along. For this project, you may copy it directly, but if you're going to post it on your social media account, please do tag me and give proper credits by putting it to your caption. Thank you guys. I'll see you on the 2nd and 3rd final project. 13. "Vintage Purple Floral Arrangement" Part 1: Hello everyone. We are now going to paint another final project, which I'm sure you guys will love, because in this topic, I'm going to share with you how to mix this beautiful four shades and how we can use them to paint a gorgeous floral arrangement. I know you guys are excited. First, we're going to mix these four colors. The things that we need are, of course, our usual brush and water color mixing palette. But for the colors, here are the colors that we specifically need for these shades. First, we need the shade of French ultramarine or something similar to this one, and we also need a shade of red, so I'm using perylene red. We also need yellow ocher. I'm going to use yellow ocher number two and Vandyke brown, olive green, whitewash and sepia. The first color that we're going to mix is this beautiful shade of violet. For this one we are going to need the French ultramarine perylene read and sepia. I'm going to take a bit of the colors first this shade of ultramarine, then I'm going to add a bit of perylene red and a bit of sepia. We are just going to combine these three colors. As we combine, we will produce a lot of gorgeous shades of purple. But we are trying to arrive on this specific shade. But if you like what you've mixed, that's totally fine. If you want to use other shade of purple that you end up mixing, that's totally fine. Because I'm sure that whatever shade that you arrive, it's gorgeous because we were able to mix these three colors. As you can see here, we didn't use any shade of violet, but we still were able to produce a good shade of purple or violet. However, this is not the one that we wanted to produce. I'm going to add more sepia and I think this one is good. This one is close to the one that we wanted. We'll wait for this one to dry and later we can see that, this is almost the same as the one that we're trying to achieve. If you weren't able to get this one, that's okay. You can keep on mixing and try to achieve the color, that you want, but you can also stop and just use whatever color that you were able to mix. Next we are going to mix this beautiful off white shade and we're going to use yellow ocher and Vandyke brown and white quash. I'm going to mix these three colors, but I will be using more white and more yellow ocher compared to my Vandyke brown. The white quash will make our color more opaque. This color that we're trying to produce is actually opaque. As you can see in one trial, we were able to create a beautiful off-white shade. But if you want to produce something that is very similar to the one that we're trying, you should add more Vandyke brown, a little more Vandyke brown. But the first mixture that we're able to create I think is good and could be used as off-white also. I think we were able to get the shade that we wanted. Again, we just mix yellow ocher, Vandyke brown and white quash. Now, let's go make some gorgeous shades of green. For this one we'll be using our olive green. We will also be using our Vandyke brown and we'll add ultramarine and yellow ocher later. This is the shade that we're going to get. As you can see it's beautiful, but it's a bit bright, which is not actually my style. I'm going to add a bit of ultramarine and we'll mix it properly. As you can see, this one is a very toned-down and dark shade of green which is very gorgeous and I love this shade so much. Now let's try adding a bit of Vandyke brown and olive green to this shade and here's what we're going to produce. This is so beautiful and I hope you guys will be able to mix this one because this is so gorgeous and will add a lot of emotions to our painting later. I will be adding yellow ocher to the mix right now. In here, instead of you seeing the olive green, I am going to use yellow ocher and I'm going to mix it with my ultramarine so I can produce another shade of green. This one ended up a bit opaque because of the yellow ocher and as you can see here, this is a nice shade of green also. We can add the mixture that we had earlier and we'll end up with another shade of green. You can produce a lot of gorgeous shade of green by just using olive green, ultramarine, yellow ocher, Vandyke brown and even add sepia to your mix. I'm sure you're going to produce a lot of beautiful shapes. These are the shapes that we will be using later on. You may use your own version if you were able to mix more gorgeous colors that you want, it's up to you. I'll see you on the part two of this final project. 14. "Vintage Purple Floral Arrangement" Part 2: Welcome, so we are now going to paint our final project number 2. We will be using all the vintage colors that we've mix on the part 1 of this final project. Let's start. Please refer to our reference photo before you start. The first thing that we're going to paint is our first rose, and for the core, I will be using the ultra round brush in size 10. This one is just the same as number 2 round brush. So of course we are going to be the core. Small c strokes. This is my final course strokes. Now I'm going to soften it using another round brush with water. I'm going to continue creating bigger strokes using my round brush. We're done with our first rose, now let's proceed with another one. We're just going to do the same create core, soften the edge, create bigger petals. Now I'm just going to add a little bit of details to my process by using water mixture. Now it's time to add some leaves, so I'm going to get a gorgeous shade of green. So this one is a bit on the tea to milk mixture, not too light and not too dark. Now I'm going to add another shade of my leaves. This one is a bit darker, this is green mix with Van Dyke brown and this is in, but they're mixture. Now we will be adding a lot more leaves, so just create a lot of shades of green, so your greens will have variety. This time I'm adding smaller leaves. Again, guys, you don't have to follow everything that I'm doing. Just go with the flow. Understand the flow of the water on your paper and just put leaves, put flowers, and add fillers wherever you want. This is an expressive version of painting a bouquet, and I want you to be free and be creative. Now, I'll be adding a rose bud on this part. So remember the rose bud that we studied earlier. You're now going to apply everything that we've learned. Back to leaves. So this V area is a perfect place to add leaves, so I'm going to add leaves. Again, as I've mentioned before, when two roses or two elements are adjacent to each other that's the place where it's best to put a leaf or leaves. Now I'm going to add some simple filler. So I'll just get my off-white and just create something like this. It's like our small leaf. It's a stoke leave. Just be carefully in here, and I want you to use different water and color ratio for the color of your choice. While it's still wet, I'm going to connect it with my green. I'm going to use a number 2 brush to connect it. As you can see, there are some small [inaudible] and it's so nice and I love it. I'm going to turn my paper so it would be easier for me to add filler on the other side of my painting. So I'm going to add the same filler in this area. We're done. This is our vintage violet floral arrangement. I hope you guys were able to follow along, and there's another one special meeting that we're going to do. I'll see you there, and if you did this project, please upload it on the project section. See you. 15. "Half Wreath Roses" Part 1: Hi everyone. Let's start painting. First, we need our materials. I have this watercolor paper with me, as well as these pencils. This one is a Blackwing Palomino pencil. You may use any pencil. Now, next for the brushes, I'll be using size 6 round brush, size 2 and of course the size 8 round brush. Aside from those we need water and of course, tissue. First thing that we need to do is create a half circle. Let's draw half circle. This will be our guide for a wreath. If you have a circle plate or something that you can use as guide, you may use it, but we don't really need to create a very clean or a neat guide. This one is okay, and then I'm going to get my eraser. This one is from Faber-Castell and then I'm going to erase the guide just so I can only have the light version of it. Just so it won't be very visible when I paint on my paper. First step that we're going to do is paint the main element. We're going to start on painting our first rose. This one is the light old rose. I'm just following what we've studied earlier when it comes to roses. Start with the core and then soften the edge. Now I'm going to change my brush, but this one is loaded with clean water. I'll be softening the edge before I add another stroke which is now bigger compared to the core. My next strokes I will be using size 8 round brush. I am now done with my first rose and now I'm adding leaves while my rose is still wet just so the color of my leaves will bleed to my first rose. As you can see here, there's a connection and soft bleeding that's happening. Not too wet, that my leaves already evaded my whole rose, but not too dry that there's no more connection and soft bleeding that's happening between the two colors. Now let's work on our second rose. This one is a bit darker compared to my first shade of old rose. We'll start with the core again. Now let's soften the edge of this rose by using clean water. Time to add our leaves. I'll be using different shades of green here. I'll be using Van Dyke brown also. Let's go to our third rose. This is the last rose that we'll do, and we are going to use the off-white in here. This is a nice addition to our old rose. 16. "Half Wreath Roses" Part 2: Now we are done with our roses. We're going to start adding the beautiful leaves around it. I'm going to first add one big leaf here. After this one, I'll be adding the curve leaf. In here, I want you guys to use different shades of green. Use dark, use light, use the mixture, use butter mixture, add browns, add sepia. I want you to play with colors here. I'm not going to guide you specifically, but I want you guys to play and explore. Just put a lot of leaves, small, big in different size, make it raw and make it fun. Enjoy the process, but be sure to use the C or the half circle guide that we made earlier as CO or a guide. We are done with the lower part. Now, let's just add some details in the middle before we go to the upper part of our half feet. Again, use different size of brush. You can also create different size of leaves. I'm just going to go back to this flower because I feel like it needs more details. I'm just adding a butter mixture here. I'm going to soften the edge of the details that I make, just to make it more natural looking. Now time to add the details and the leaves on the upper part of our half free. Again, use different size of brush, use different colors and mixtures. You can create a variety of leaves in here, even if you're just using round brush. I'm so happy guys that we've reached this point. We're going to work eating our last final project. I hope you guys really learned on this class. This is something that I really wanted to share with you for the longest time already, and I'm so happy that finally, I was able to share you how to paint roses in this style. Again, as I've mentioned on the first part of this class, I have different styles and painting roses, and this is just one of those. If you guys want to learn more, just message me on Instagram, because I can share more with you. I'm so excited to see your final project, and I'm just so excited to create more classes for you guys. I hope you guys can support me by uploading your final project on the final project section, leaving reviews and engaging more with me on my social media accounts, just so I could know what else or what other flowers that you want guys to learn. Also, before I forget, if you weren't able to get this on your first try, please don't stop trying. Again, as I've said, a lot of times and a lot of my class and a lot of the topics on this workshop. It took me years, more than three or four years to create something that I'm really proud of because I didn't invest so much on myself when I was just starting, I didn't attend a lot of workshop. But you guys already have all the resources that you need to know, all the materials that are right for you to start. It's just you guys are really ahead of me when I was starting. I know that in no time you will surely get and create that art work that you've been waiting for and that you are going to be proud of. Don't give up. Just keep creating, just keep on practicing, and just keep on doing and retrying the correct methods that I've taught you. We're just adding final touches here and we're almost done. That's it. This is our final art work. I hope you guys are able to follow what I did here. If your artwork is not exactly the same as mine, that's okay because this is a loose floral painting. This is a watercolor painting. This is not an illustration, so that is totally fine. I know that your own version of this artwork is also good and beautiful so be proud of it. Before I end this, I want to thank you for your support in this class and I hope to see your final project on the project section of this class. I have some final thoughts on the final thought section of this workshop. I hope you can still watch that video. See you on the final video of this workshop. 17. Final Thoughts: I hope this class inspired you to create. Again, if you didn't get the result right away, that's okay. All you have to do is keep on trying. You already have the right materials, you already have the right resources, this class. All you have to do is go back and rewatch this class, know your brush even more, know your paper, and keep playing with water. In time, I'm sure that you will get a gorgeous piece that you've always wanted. Again, keep painting and no matter how your artwork looks like, I want to see it so I can give my feedback and help you out with it. Please upload your final project at the Project section of this class. Thank you so much again for attending this class, I hope you enjoyed and learned as much as I did. See you on my next workshop.