Transcripts
1. Introduction: Have you ever thought
how a simple, tiny piece of art can add a special touch to your
journal or sketchbook? Imagine creating a delicate
floral painting that, despite the size capture the full essence of
a blooming bouquet. This class invites you to explore the world
of miniature art, providing that even
the smallest details can have the biggest impact. Hi, I'm Jenny Flores,
a creative coach, an artist, and a Skillshare top teacher from
the Philippines. I've had the pleasure
of collaborating with well known brands like the
Coffee Bean and Te leaf, Watery Barn and Cebu Pacific, where I've shared my
love for painting. With over seven years of experience and thousands of
students around the globe, I'm excited to share the unique insights that I've gathered along my
artistic journey. In this class, we'll dive
into the art of creating loose floral pieces
in miniature form. Learn how to capture the
essence of potted plants with simple yet inmpactful
brush strokes from choosing your colors to mastering the techniques of
loose painting will cover everything you'll
need to know to bring these tiny
works of art to life. Whether you're a beginner
looking for a simple, yet rewarding project or an experienced artist wanting
to try something new, this class will help you see
how less can truly be more. So are you ready to create tiny artworks that pack a punch? Then pick up your brush
and let's get started.
2. Supplies: Hi, everyone. Before
we begin painting, let's walk through
all the supplies that you'll need for this class. First, of course, is color. But before I share with you all the colors that we will
be using for the class, let's start with a
short discussion on how to choose your
colors for your painting. So when it comes to
watercolor florals, especially in a loose
and minimal style like what we are
going to do today, it helps to select
a palette that feels balanced and expressive. I like to combine vibrant
colors with muted tones to create contrast and
harmony in a very subtle way. The great thing about
watercolor is that you don't need a lot of colors to create
beautiful results, with just a few tubes, you can mix a wide
variety of shades. For example, in our
second project, I only use two shades of green, yet the final painting look full and lively,
as you can see. It really shows how much of a difference a proper depth
and highlight can make. Even with a limited palette, your work can feel
rich and dimensional. So for this class, I
have created a set of colors that offers
both softness and structure that is ideal for capturing the charm of
many floals and vases. So here are the colors that we will be using
throughout the class. Don't worry if you don't have the exact same brands
or same shades, fill free to substitute or
even mix your own colors. So first one is
Petersburg ochre. It's a warm and
creamy white shade. And then the second
one is shadow violet, a muted violet gray tone. And then we have undersea
green, which is a rich, earthy green, and
then shadow green, a darker green to build
some depth later on. And then we have
Bnciena reddish brown that adds warm to your painting, Vandyk brown, a deep dark
brown for contrast in detail. We also have naples yellow, which is a soft
and creamy yellow. You can substitute this with
yellow ochre if you like. And then indigo,
which is a deep blue, almost black shade of color. We also have a neutral
peach tone, which is mocha, ruby, a beautiful pinkish red, perfect for vibrant
floral accents later on. We also have ultramarine blue, which is a strong classic blue. And then titanium gray, which is a creamy light gray. This palette gives us
everything that we need to paint for our
florals later on. But again, feel free to substitute the
colors with anything that you have with you because
we are painting flowers, and I don't want
to limit you with the colors that you
would using later on. Choose whatever you like.
Feel free to experiment and combine and mix colors that resonates
with your style. So next is brushes. I will be using three brushes, which is around in size six and eight and
also a detail brush. So if your brush are
slightly different from my own, that's
totally fine. Just make sure you have a mix of medium sized round
brush, large size, and a small tip to cover the different techniques that we will be
applying later on. Other materials that we will be needing are pencil and eraser, and then we'll also be using, of course, watercolor paper. I am always using this Bao hung 100%
cotton watercolor paper. But if you don't have this
exact same watercolor paper, whatever is okay as long
as it's cold press, and of course, it's better
if it's 100% cotton. Next, we also need some
tissue or paper towel for blotting and lifting and softening some of our
strokes later on, and then a cup of clean water for rinsing
and mixing colors. Last and optional is a
heat gun or hair dryer. This is optional, but this will help your
painting dry faster. But if you don't
have one, it's okay. You can always air dry. So once you have all
the materials ready, we'll dive into painting. I'll walk you through each
project step by step. So whether this is your
first time with watercolor, or you are just
looking for a fresh, loose approach, you will be able to follow along with ease. So I'm so excited, so
let's get started.
3. Blue Bells in a Pot: For our first project, we'll create a simple and
charming blue bells in a pot using just a few
colors and techniques. If you're new to
watercolor, don't worry. This tutorial is beginner friendly and focus on
soft expressive strokes. Let's get started. First, take your pencil and lightly sketch
the outline of your base. We don't want the
lines to be too dark, as they might show
through the point. Once you're happy
with the shape, gently erase some of the lines until they're just
barely visible. Think of it more as a guide
than a final drawing. This way, it won't distract from the soft colors we'll
be adding later on. Now we'll start painting
the base of the pot. Makes a very light
wash of Vandek brown. This should look like a t
in terms of color strength. Lightly paint over the pot area. And while the paint
is still wet, take a light mixture of shadow
violet and gently dab it into one side or one part
of the edge of the pot. This creates a soft transition and a subtle shadow effect. Since we're working
on wet on wet, the colors will blend
seamlessly into each other, giving that dreamy diluted look. I want you to just let the pigments dance together
naturally on the paper. Don't overthink. While the pot is still drying, let's move on to the florals. Rinse your brush thoroughly
and dip it into clean water. Lightly dab this brush with clean water on the areas where you want to
put your flowers. This prepares the paper
for a soft blended effect. Trust me on this part, it
looks weird in the beginning, but I am sure that your work will look nice
when you follow this step. While the surface is still
wet or somehow cold, take a light tea mixture of shadow violet and gently
tap it into the wet areas. You'll notice the
paint spread softly, almost like a whisper on paper. This will form the base
of your blue bells. Next, add a touch of undersea green near the
base of the petals. This connects them
to the foliage and adds a bit of harmony
to your composition. Let the colors
mingle on the paper, and remember to leave
a little bit of white spaces on some areas. This keeps the painting feel
airy, balanced and light. Once the painting
is completely dry, it's time to add a
little bit of depth. Take a more concentrated
version of shadow violet, which what I call milk mixture, it's still fluid but much deeper in color than
the first layer, which is called tea mixture. Dab this in some of the flower areas to
build some dimension. This contrast
brings your florals to life and makes them pop just a little bit more without losing that soft look that
we are aiming for. Now for the leaves and stems, using the same milk
mixture consistency, this time with undersea green, paint delicate
lines to represent some stems and add a few small
leaves around the flowers. Think of them as supporting characters that
complete the scene. Keep your strokes loose and spontaneous and don't worry
about making them perfect. Imperfection adds charm. Let the layer dry completely before moving to
the final touches. Now, step back and take
a look at your work. If your flours still
fill a bit flat, you can go on with another
layer of your milk mixture of shadow violet to deepen some
areas and enhance contrast. This really helps guide the viewer's eye around
your composition. Revisit the pot too, if it looks too light or
if the shadow is faded, gently re establish them
by using the same wet on dry technique with a
light dab of shadow violet. This helps ground the pot and gives it a little
bit more weight. I we're almost done. Add any tiny dots or some small slatter of textures or enhance a few
petals here and there. Don't overthink this part, follow your instincts
and enjoy the freedom of finishing your
piece. And that is it. We have just completed a soft, dreamy mini floral painting, and this technique can
be used again and again, and I want you to try it
with different flowers like Bouquanvila or whatever tiny flowers that you have in mind. Mix and match colors, explore new arrangements, and most importantly,
have fun with it. I hope you enjoyed
our first project, and we have a lot
more projects to do. So I hope to see you
in the next video.
4. Potted Plant: Hello again, and welcome to
our second class project. Today, we are going to paint a simple yet beautiful
terracotta pot filled with lush green leaves. This piece is all about
creating contrast between warm, earthy tones and vibrant
greens while keeping the overall feel soft and
easy on the eyes. Alright, let's dive in. First, we'll start with the pot. Using a milk mixture
of burnt sienna. That means the paint is
creamy but still watery. Gently paint the
shape of the pot. Try to imagine how light hits and where the shadow
might fall as you go. This is where we begin forming that classic terracotta look. Don't worry about
making it perfect. Just focus on laying down a warm base and establishing the general
shape of your pot. While the first layer
is still damp or after it dries a little depending on how strong you
want the texture, you can begin adding
some van Deck brown. Use light strokes or
dabs on the edges and near the base of the pot to give it more texture and definition. These deeper tones help
create that classy, earthy terracotta
effect and make the pot feel a little
more three dimensional. The contrast between
the burnt sienna and Vandek brown adds richness
without being too harsh. I Now let's move on to the fun part,
the greenery. Using a team mixture
of undersea green, start dabbing in
your leafy shapes. Don't overthink the forms, let your brush dance freely. It's totally okay and, in fact, preferred to make your strokes a little
uneven and imperfect. That organic looseness will make your greenery feel more natural. Be sure to leave some
white space between strokes to keep the
composition light and airy. While that first layer
of green is still wet, go ahead and grab a milk
mixture of a deeper green. I love using shadow
green for this step, so dab some of it in the
inner areas of your greenery, especially towards the middle or the base of your
leaf clusters. Because the paper is still damp, the paint will softly blend
into the lighter green, creating a beautiful, soft boco effect with natural transitions. Time for a little detail. Switch to a smaller brush
or a detailed brush, and with the same
shadow green mixture, begin adding finer strokes. Focus on the outer
edges of the greenery and add hints of
stems poking through. These subtle lines
suggest definition and structure while keeping
everything light and fresh. You don't have to outline
everything just enough to imply that there is more shape and movement
in the leaves. At this point, it's
important to take a step back and let your
work dry completely. Watercolor tends to dry lighter
than it looks when wet, so don't panic if it looks
like your contrast is fading. That's totally normal. And we'll fix that in the next. Once your painting is dry, you'll notice that some of the green may have lightened up, so now is the perfect
time to deepen a few areas with another layer of shadow green in mixture. Add just a few thoughtful
strokes to reinforce your shadow and bring back
that beautiful contrast. It's a small step,
but it really helps your piece feel finished
and full of character. And that is it. You've completed your second mini project. Just look at that lovely mix of earthy terracotta
and soft greens. This technique is one you
can use again and again, whether you're painting
bigger compositions or creating cute
botanical studies. Keep practicing and
don't be afraid to play with different
shades of green or even try adding
other elements like small flowers or trailing nds. The beauty of watercolor is how forgiving and
expressive it can be. I hope you enjoyed this lesson. You're doing amazing, so
keep those brushes moving, and we'll see you in
the next project.
5. Basket of Sunflower: I Hello again, and welcome to our third
watercolor project. I hope you are feeling
more confident with each painting we have
done together so far. And today we are working on something cheerful
and vibrant, a rustic basket filled with bright yellow sunflowers.
Let's get started. Begin by lightly sketching the shape of your
basket using a pencil. You don't need to
go into detail, the basic outline will do. A soft rounded base or a more rectangular one will
work beautifully here. So feel free to explore
what feels right for you. The key is to keep
it light and loose. We're not aiming for
a perfect structure. Just a gentle guide for
our painting later on. Now it's time to add color. Using a tea mixture of naples, yellow, gently paint over
the base of your basket. This pale wash gives us a soft warm foundation for the rest of the texture
that we will add later on. While the layers still wet, grab a clean tissue, and gently press it into the upper center of the basket
to lift some of the paint. This technique is
called lifting, and it's a great way to add
highlights or soften an area. You're basically
erasing just a bit of the pigment to mimic how light would naturally hit
the center of the basket. Now, we are going to
add a bit of character, while the basket is still wet, switch to a detail brush and grab a milk mixture
of Vandic brown. Add quick some lines and
light strokes along the side, bottom, and even across
the top of your basket. This will act as texture and also simulate the
woven basket effect. Because we are still
working on a damp layer, these rooks will soften
slightly and blend beautifully. This is the classic
wet on wet technique where you let the paint
do the blending for you. It adds softness and makes
everything feel more organic. You have to work on quickly
in this part so that your lines don't sit on
top of a dry surface. Now, let everything
dry completely. You can use a hit
gun or hair dryer if you want to speed up things, but air drying works just fine. Once everything is dry, it's time to paint the
handle of your basket. Use a butter mixture
of vendi brown. This means it's pigmented, which is a tiny bit of water. Draw a curve, slightly
wavy line from the handle. You can even do two lines side by side if you want
to make it more defined. Now unto the stars of
composition, the sunflowers. Using tea mixture
of yellow ochre, begin painting the petals with loose downward strokes toward
the center of each flower. You can paint a full
sunflower facing forward or tilt some at
an angle for variation. Different angles makes
your composition feel more lively and natural like a real bouquet
overflowing in a basket. Don't worry too much about symmetry or making
each petal perfect. Think loose and
expressive like you're capturing their essence rather
than every little detail. Once your petals
are completely dry, it's time to add the centers. Take a butter mixture of
vindickown and gently dot or swirl it in the
center of each flower. Because this mixture
is highly pigmented, it will create a
beautiful bold contrast against the light yellow petals. You can even let some
strokes radiate outward to blend a bit with the petals
for a more natural look. Now fill in some greenery using a milk mixture
of undersea green. Start painting leafy shapes around the end
between your flowers. Spread the greenery out and let it extend beyond the
edge of the basket. Don't forget to leave
some space open for more sunflowers if you
plan to add more later. Once that first green
layer is dried down, use a darker green,
maybe add a bit of shadow green to
deepen some areas. Focus on the bases or
shadowed parts of the leaves. The variation between
light and dark greens gives your painting
that lush layered feel. You can also let some
of the green peek out from behind the flowers to
anchor them to the basket. A To give your sunflowers more form, mix a little bit of Vandeic
brown into your yellow ochre, a subtle shadow effect. With this, paint a few
strokes on one side of each petal just enough to
suggest shadows and dimension. You don't have to do
this for every petal. Just a few touches here and there makes all the difference. The idea is to
create depth without overpowering the overall
softness of the petals. Sometimes after layering, the flour centers might
lose a bit of intensity. This is your chance
to go back in with that butter mix of Vandek brown and reinforce the centers. A little dt or dab is often enough to
make them pop again. And there you go.
Your beautiful basket of sunflowers is complete. I hope you had fun creating this sunny, joyful composition. This painting is a
great example of how layering and timing can bring
your watercolor to life. You're doing such a great job, and every project you
complete brings you one step closer to finding your own style and
rhythm with watercolor. Keep going, and I'll see
you in the next project.
6. Cherry Blossoms in a Jar: Hi, again, and welcome to
our fourth mini floaPject. This one is soft, delicate
and just so calming to paint. We'll be creating chevy blossoms arranged in a simple jar. And for this one, it's a gentle mix of soft
blues, pinks, and browns. Perfect four when you just want a relaxing
painting session. So are you ready?
Let's get started. Just like how we
did with the vase in the earlier projects, begin by lightly
sketching the shape of your jar using a pencil. Keep the details minimal. Just the basic shape is enough. The lighter your sketch,
the better so that it doesn't pick through
once we begin painting. If needed, gently erase some of the pencil lines to
lighten them further. Using a milk mixture of indigo. So remember, milk mixture is a mix that is not too watery, but still flows easily. So using that mixture, we will paint one
side of your jar. I usually start
with the left side. While the paint is still wet, rinse your brush and
gently drag the color across the other side of
the jar using just water. This creates a lovely
soft shadow effect on one side while still giving
that beautiful textured look. Let this layer completely
dry before we move on. Once dry, grab your
detailed brush and use the same indigo paint. So for this one, it's better to use either
milk or butter mixture to create a little bit of texture on some of the
parts of your jar. Now for the cherry
blossom branches, using a the mixture
of Vandek brown, creates spiky thin lines
that mimic branches. Start from the inside
of the jar and extend the lines upward and outward
in different directions. It's okay to make your
lines slightly uneven. Branches in nature are
never perfectly straight, so be sure to leave a few
tiny white gaps here and there so that we have space for or cherry blossoms later on. Time to bring the
painting to life, using a soft pink
in milk mixture. So whatever your available
pink with you is okay. Start dabbing the color into your branches using
stippling strokes. Stippling strokes are
short light dabs with just your brush to mimic the cluster look of
cherry blossoms. Paint some clusters heavier
and others lighter. It's totally up to you how many flowers do
you want to add, but remember to leave a
little bit of white space in between so it
stays light and airy. We want a loose and ringy look, not a dense or overly
packed branch. While your flowers
are still damp, pick up a slightly darker
shade of pink and add some small dots or short lines to the center of your
cherry blossoms. You don't have to do
this for every flower, just a few scattered les here and there will already
make a difference. It adds a nice pop of dp to your cherry blossoms without
making them look too busy. Everything is dry, go back to Vandyck Brown and this
time in butter mixture. Butter mixture is thicker
and more pigmented. Remember, repaint a few
sections of the branches, especially the ones that got a bit washed out
under the flowers. This step helps bring back the structure
and definition of the twigs and gives contrast
to all the soft blooms. And we are done. That's it for our
fourth project, a soft peaceful scene of cherry blossoms
and a simple jar. I hope you enjoy this
one as much as I did. And remember, you can use
the same technique for other blooming trees or even
tiny wildflowers in jars. Keep practicing and don't worry about imperfections
and enjoy the process. You're doing great. So I hope to see you in
the next project.
7. Tulips in a Chinese Vase: Hi, again, for our
fifth project, we are painting something
really elegant and charming, tulips in a Chinese vase. This one is such a joy to make because we get to
play with patterns on the vase and paint simple but beautiful tulip
shapes. Let's begin. As always, we start by sketching the vase very lightly
using a pencil. This is just your guide.
No need to add details. Focus on the basic
shape and structure. In this part, you can
choose your own shape. So maybe a classic
round bottom vase or a tall elegant
one. It's up to you. You can look up references or just follow your own
imagination here. Once you're happy
with the shape, lighten the sketch with
your eraser a little, especially if your
pencil is quite dark. We want to make sure
that the lines don't pick through once
we start painting. Now using a tea mixture
of ultramarine blue, let's paint the
first layer of vase. This mixture is super
light and watery, almost like a tinted wash. Start by brushing the
color into the vase, but intentionally leave
the center part unpainted. This will create that
natural highlight that we always want. Once the light layer
is done, get a clean, slightly damp brush or even a tissue and lift a bit
more color from the center. This is a watercolor
technique called lifting, which we also done on our
previous project earlier, and this creates the soft glow
in the middle of the base. Like it's reflecting some light. Let this first layer dry completely before moving
on to the details. Now for the fun part, with your detail brush and a butter mixture of
ultramarine blue, which is just the same color, but with very little water
and lots of pigment, start painting the
details of your vase. You can get as creative
as you like here, try some delicate swirls, small floorls or maybe a few
dots or leaf like patterns. There is no right or wrong, so just enjoy this step
and feel free to explore. Think of it as your personal
stamp on your painting. Now, let's paint a simple line underneath the
vase to ground it. This gives the illusion
that the vase is sitting on a surface rather
than floating in space. Just a gentle horizontal stroke, and ultramarine blue is enough. Nothing too bold needed. Y. Next, let's start
working on our tulips. Using a milk mixture
of a soft pink, I am using mocha from
Nevsky polytro here. Let's start painting
the tulip petals. You can make them in
different sizes and shapes. Some are facing downwards, other tilted or a
bit into the side. Don't worry about making
them look perfect. We're painting
minute tulips here, so we are aiming for
impression, not precision. The charm lies in
their simplicity. Once your tulips are done, it's time to paint the stems and leaves using a milk
mixture of undersea green, paint gentle flowing
strokes that connect your tulips to the vase. Make some of the
leaves long and curve, maybe even swing a little
to the left or right. This helps the composition
feel more dynamic and natural. Now that the first
layer of green is dry, let's go in with a
darker shade of green. You can either use a more
concentrated mix undersea green or mix in a little bit of
indigo or shadow green. Add another set of
leaves and stems, especially underneath
or between the tulips. This creates depth and gives your bouquet a more
lush appearance. Once your tulips
are completely dry, take a butter mixture of your pink and add small
accents on some of the petals. Just a few curve
strokes here and there, because this will help the pint of flowers a little bit more, giving them a slightly treedy
effect and making them pop. And that is it. We are done
with project number five. You just made it a
delicate Chinese vase filled with
soft pink tulips. You can totally recreate this piece using
different colors or even switch out the tulips for another florals
like Daisy's. You have already completed five beautiful pieces.
Can you believe it? I'll see you in the
next and last project, where we will wrap
things up with one final mini
floral composition. I'll see you in that video.
8. Roses in Textured Vase: I Welcome to our final
painting project. So you've made it to
our sixth project, and I couldn't be
happier to see you here. For this last piece, we are painting roses
in a textured vase. This is a beautiful way to wrap up the series
because we'll be combining a lot of the
techniques that we have learned from
our past projects. So we'll be creating textures, layering colors, and
capturing soft dreamy floals. I know you're excited,
so let's get started. As always, begin by lightly
sketching the vase. This is just a guide, so don't worry about making
it too precise. Keep your lines soft and simple. You can go for a round or
more textured base shape or anything that
you like, actually. The goal is to have a base where our rose can rest
and bloom naturally. Now, take a milk mixture
of titanium gray and fill in the entire vase shape
with this soft muted tone. You can use any shade of gray or actually any shade of
color. It's up to you. And while this
layer is still wet, quickly switch to
a detail brush and dip into a butter mixture
of the same color. This thicker paint will give us more control and
using light strokes, tap or drag your brush to add texture directly
into the wet layer. You can create small patterns, vertical dabs, but for
me, I prefer lines, and I'll make these lines
broken so it will create an effect that some parts are shadowed and some
parts are lighter. Now, let that layer dry before completely moving
onto the next step. When that first layer is dry go back with a
butter mixture of the same color that you use and add another
round of texture. This time, your marks will stay and they will
be more defined giving the vase a nice contrast between soft and crisp details. In this way, you will be adding more interest and
personality to your piece. You can add little
kicks patchy shadows or random marks to give the vase
a handmade ceramic feels. So if you like, you can
also redefine the edge of the base slightly to give
it more shape and volume. Now for the florals, let's start painting the rose. Grab a milk mixture
of burnt sienna. Yes, we're using a warm, earthy tone instead
of pink this time to give a rose a more vintage feel. Start by painting in
perfect rose shapes. Don't aim for perfect circles. Use curve strokes,
irregular shaves and soft edges to make
each flowers unique. Think of it like you're sketching
petals in loose motion, letting the water flow and
soften the shaves as you go. While the rose
base is still wet, it's time to add the
leaves and stems. Use a milk mixture of green, something like undersea
green or olive green. And paint soft loose leaves around and between the flowers. Because the rose
layer is still damp, the green will bleed
slightly into the petals, creating a beautiful, soft
blend between the two. This bleeding effect gives
the painting that dreamy, romantic feel almost like a vintage memory
captured on paper. Et everything dry thoroughly
before the next step. Once dry, go back
to the roses with a butter mixture of print
sienna and your detail brush. Add small sea shaved strokes to define the petals
and deepen the form. Just a few strokes in the center or where the petals
overlap is enough. You don't want to overwork it. The goal is to build depth while still keeping the
rose light and loose. Now, take a moment
to re establish any tiny details that
needed more contrast. Add a few more greens where
the leaves might have faded or deepen certain areas of your roses if they
need more volume. This depth is all
about refining. Step back, squint
at your painting, and look for areas that might need a little extra
color or shape. But don't overthink
it. Remember, we are going for softness,
not precision. And that's it. And
just like that, you have completed your
final mini floral painting. You have painted six
beautiful projects, and I hope this last one
gave you a chance to really enjoy the process and
see how much you've grown. I am excited to see on the last video where I will
be encouraging you even more, so I hope to see you there.
9. Final Thoughts: Thank you so much for once again joining
me in this class. We have covered a lot together, starting with the
basics of choosing colors and mastering
loose brush strokes, all the way to capturing
the essence of beautiful florals
and tiny faces. I hope you are feeling
inspired to continue creating these small but
impactful pieces of art. Remember, practice is key. Don't be discouraged if things don't turn out perfectly
the first time. The beauty of loose
painting lies in its freedom and spontaneity. So keep experimenting
and enjoy the process. I love to see what you
have created today, so be sure to upload your project to the
class project section. And if you're sharing
your work on Instagram, don't forget to tag me at Jenny Flores Art and
also mention Skillshare. I can't wait to see
your tiny masterpieces. If you found this class helpful, I really appreciate if you could leave a positive review
in the review section. Your feedback helps me improve and reach more
students like you. Lastly, if you enjoy the class, I invite you to check out my
other Skillshare classes. There are so much more to
explore and create together. So once again, thank you
so much for being here, and I am very, very happy and grateful
that you took this class. Happy main thing and see
you in the next one.
Jenny Flores Art, Top Teacher | Watercolor & Gouache
