Watercolor Climbing Roses With a Filbert Brush

1. Intro: Hello to you, welcoming you to class today and looking forward to the next couple of hours during which we will learn how to paint climbing roses using a Filbert Brush. I'll be walking you through each step, starting with how I find inspiration by studying a Live Reference flower. Next, we'll learn how to approach painting climbing roses using gestural technique. Capturing the shape and essence of the flower without overwhelming it with too many details. I'll show you a multitude of color combinations and three different papers to try for different results. Before we finish up with Expressive Leaves. At that point, you will look gain the education necessary to move into the final portion of our time together. Our class project, which we will pull from our earlier sessions to create a beautiful bouquet. If you're ready, first up, we'll take a look at supplies. Let's dive in 2. Studying Reference Flowers: Let's spend just a moment or two having a look at I realized study. I feel like this is such a benefit to have when painting. It can also be a hindrance. And you've, if you've taken my classes, you've you've heard my thought process on that, that sometimes we get too attached to what things look like. In reality that we have such a hard time loosening up because we're trying to stroke for stroke, achieve what we see with our eyes. And a lot of artists support that mantra of paint which you see not what you know. And I am so contrary to that, I really, I fully believe and support intuitive painting and it may not always look exactly like your subject matter, but I feel that's where the most joy exists, that's where the most freedom is existing, and that's where you find I feel like your bliss. So if you're new to me and my classes, that is my approach. My approach is gestural and loose and free form. And that is what I teach in my classes because as I said before, I feel like it promotes the most joy and that's what I want for you and your creative process. So again, I love this part of the process. I love where we can look and study the elegance and the majesty of creation. But then we can also pull away and say, Okay, I've seen it, I've been inspired by it and now I'm going to move on to create something that feels like mine. So that's what we're gonna do. We're just looking at these beautiful petals. We're going to be using our filbert brush to mimic these sort of roughly soft edge round there. They're actually called cloud, cloud climbing roses. And so we're going to adopt that vocabulary as we are painting our roses and really bring out the softness that you find. And we'll play around with angles to, I'll be moving the Flowers around. So we can achieve this beautiful side angle. This maybe a full front-facing climbing rose and then maybe another one off to the side and will also, we have a little bud tucked back there. Can't really see it, but it's back there. So we'll, we'll focus on some buds. And then they have the beautiful yellow centers in there too that we're gonna, we're gonna pull out and play with just the, the, the playfulness of the Center. They mimic peonies and they have that roughly texture. But you'll notice if you have a peony garden or if you are familiar with that flower, you'll see that there are notable differences. So we're going to study those nuances and really lean into them and embrace them and pull out something special. Like I said, just a nice reference to have as we're working along and our class, but not necessary. So feel free to use these Flowers as a reference. Or if you, like I said, have your iPad, then you may want to pull that out and have some inspiring images next to you that you can draw inspiration from 3. Discussing Supplies: Let's go ahead and discuss the supplies that we're gonna be using for this class. You're gonna see that we kinda have quite the lineup here. And here's my thought behind this class. We've painted peonies quite a few times. And so although our climbing roses are gonna be similar in stature and in composition, I'm going to shake things up with colors here and also with paper. So you're gonna see we have a myriad of Supplies here. This is my thought process behind it. I remember when I was a beginning Watercolor artist, I would see these inspiring artists working with these different supplies. And I would wonder, is that worth the investment? Should I wait till him a bit more adept at my skill? Or is it, Is it something that I need to have? And because I liked the way that it works and I feel like it would be an asset to my toolbox. So while I, I usually like to use colors, especially in paper that beginner in watercolor is have in their home toolbox. I really want to give you a sense of variety here. You're gonna see we have a bunch of different things we're working with today. And I feel like it's gonna be an asset to you to be able to just see how it all works and decide whether or not you want to make the investment in these supplies. If you are a newer Watercolor artist, if not, if you're more seasoned, you may have all of this and that's fantastic. We're going to start with our Canson Paper, That's 140 pound cold press. We use that in most of our beginning, a watercolor classes. We're also going to throw in an arches hot press, hundred and 40 pound. This is a really great paper that I use in my professional work is pretty much the only paper I use them in a professional work. Then we also have a loose leaf legion 140 pound cold press. And this is a great paper as well. Great tooth and texture to it. And I do like this paper a lot. So I'm gonna give you we've used I know these two for sure. I can't remember if we've done hot press before, but I'm just going to show you what are subject looks like on a variety of papers and you can decide, oh, I really liked the look of that. Move forward. As far as our paints are concerned, we're gonna be using a variety here. We have Maimeri Blu, we have Daniel Smith, we are Winsor and Newton. And then we also have this great little Powder that I got from The Sketchbox. If you have ever heard of them, It's a subscription-based platform where they are very similar to other crafters box or let's make Art. And so I just want to throw everything at you and give you options as far as what you might want to use. I'm even going to throw in a Chinese White watercolor, which I never use, but I want to show you how it works and just give you a really great sense of what your supplies are capable of. So you'll see the full lineup here. Everything will be listed in the syllabus, so I won't cover each color here just for the sake of moving you along. But you'll find all the colors that are used in the syllabus. You'll also need brushes. I love for you to have a variety of rounds and Filbert. This is a princeton heritage. This is a Princeton Aqua Elite. This is a six, this is an eight. This is the Umbria Filbert. This is a Size six and they're all princeton. And these are my go-to brushes. I love them for versatility. And then you'll also need a cup of water, a mostly clean palette, excuse me, move to there and something to blot off on either a towel or paper towel. So that pretty much covers what we're getting now, I'll say use an iPad just for some reference images. However, I'm going to pan you over so you can have a look at our live study reference. We're gonna be using this mostly for just composition to have a look at what the flowers look like. And I'll put them alongside as we're painting. But we're not gonna do the color because as I mentioned a little later, it's a color we've used twice now in our workshop. And again, really wanting to give you variety here and not just be using the same colors that we use even though they are common and maybe comfortable. So I'm going to stretch you a little bit with color here and I hope you enjoy it. So let's move forward and we'll take a look at our beautiful climbing roses. 4. Practicing the Center: So let's go ahead and take a closer look at the center of our climbing rose here. And just kinda have a peek at the playfulness that's happening here with these beautiful yellow centers. So we're really going to draw out these delicate little nuances as we paint the flower. So let's go ahead and start with the round six. Brush. If you have something that's a little bit bigger, a little smaller, that's okay too. But this is the size you want. It has a great point to it and you'll be able to, I'm really achieved those fine strokes that we are aiming for as we create the center of the flower. I'm going to use an abstruse color here. You may not have it like I said, in your toolbox, but it's something I'm looking forward to using and I hope you will to pronunciation here. A role, a role in. I'm not even sure how to pronounce it, but it's a role in, I believe, and it's a Cobalt yellow. And it's got a really, really luxurious patina to it that I think is just going to be super beautiful is we apply it to roses here. All right, let's go ahead. And if you're brand new, you may not have all of the education behind water ratios, the mixing paint and water together to achieve the exact consistency that we're looking for. So if that is the case, I do invite you to move back to some previous classes where we discuss that in great detail. For this class, I'll just do a brief overview and reminder. But again, those beginning classes, we'll really cover all of that education for you and give you a full sense of how to mix the water and the paint together to get the different consistencies that we'll be using. I'm going to add just a bit of water here and pull out my pile here for about broth consistency, that's about 50% paint, 50% water. And I'm just really going to mix it around, make sure. And a little bit, a little bit of black in there, but that's alright. We're just going to keep mixing until all the paint is at. I said about a broth consistency and really rotating those bristles back-and-forth to make sure there's no big pink globs on the brush. Right about there. I feel like it's ready. I'm going to pull my palette off to the side here. And I'm practicing here on our canson 140 pound cold press. This is the side that has a bit more texture to it. And in fact, I think I'm going to just so that we're consistent here with texture. Over to the smooth ER, side here. If you are not familiar, Watercolor paper does have two sides to it. Typically, one with a little bit more tooth and grain to it and the other one more of a smooth hot press feel. This one's still would be considered medium grain. Not at a hot press, but it mimics a hot press more so than other watercolor papers I found. Let's go ahead and just begin carving out the center of that climbing rose. You wanted to have your brush in an upright position, not completely up and down, a bit of an angle. But you want to be able to access this TO of the brush. You can see we have a great little point here. That is what I would like you to be able to really access to be able to come up on the toe of the brush to get those fine lines. So let's just begin with some squiggles. Were just grazing the paper here. Just taking the toe of the brush and making some very fine gestural marks. There's really no rhyme or reason to them. We're just, like I said, grazing the paper, moving the brush around, coming up on the toe of it. This is much easier said than done. I do want to make sure I definitely repeat that mantra because it can be frustrating when you see an artist's just make few strokes that looks so simple and effortless. And then you try and do it yourself and they look column clumsy and clumpy and all of that. So do know that that is part of the process, getting the field between your hand and the paper, and really getting this understanding of how it all comes together. Moving through from your brain to your heart, to your hand, to the brush, to the paper. It's a long journey. And so there's going to be parts of it that do feel clumsy until you just kinda get a feel for how it all moves together. So I usually like to create a center that's about the size of a quarter, maybe a little bit bigger. I like it to have all angle feel to it. Depending on whether or not we're creating a flower that we want in a specific direction. I like to have options here because let's say I'm aiming for a flower that's facing up in this direction. But as I'm creating, just something goes wrong, then I'm stuck with the Center that clearly looks like it's in a certain position and I'm not able to modify it to work with what we know what happened on the page. So something like this really is so great because you can just work with what you have. Alright, pulling, pulling you back just a bit so we can see what we're working with here. And then we're gonna begin to mix up some color to create the petals. But let's go ahead and just kinda do this one more time. Again, taking your brush and creating a center. Using these very loose, sort of fine lines. Try not to overthink it. We want something that's very playful in nature. Nothing that feels too stiff to stagnant. Right about there. I feel it's like our is our happy spot. So I'm gonna pause there. And then we're gonna go ahead and mix up color to add to the Center of those flowers. Go ahead and I get your paint ready and we'll move on to the next step. 5. Rose Structure: Okay, so we're going to pull out possibly a new supply for you. This is from The Sketchbox. This is Grape Watercolor Powder. I'm just going to take a little bit on my palette here. Kinda goes everywhere. So just I'm use with caution. Just kinda blows all over the place. But eventually, there we go. Eventually it does come out. Then I'm going to take my filbert brush and I'm going to add just a little touch of water. And you can see it's very concentrated. It's so beautiful. I do love working with Powder. I don't use it as often as maybe I would like to. Just because I am I tend to be more of a what's familiar to me. So you can see I'm continuing to mix it with water here and it's still not diluting all that much. We have this highly dark color. So I'm going again, pull out some water. And you can begin to see a little bit of the color come through here on the, on the plate, on palette. I'm going to rinse off my brush to get some of that color off. And then I'm going to pull from or yellow to create something that's a little bit more of a muted kind of a wine color here. Really mixing that in. Again, like I said, we have covered beautiful bright pinks plenty of times in classes. So I'm trying to give you different color options so that you can just have different style, different colors. If you followed my Vintage color guides, then you'll know that I love muted colors. It's one of my passions to continue to come up with new ones. And this is one that I love mixing this great color with this really bright, vivid yellow here. Just to bring a little bit of pink back into it. Let's go ahead and pick up a Rose Lake. Blocks that are dab that off to the side here. And then rinse your brush a bit just to get some of that excess color off. And then we'll pull back here. Just to get a bit more of that pink. We want something that's not brown, but in the middle of that pink and that Moody Umber color. Again, pulling out a little bit more water, we have something that's kinda cough syrup consistency here. So I'm just continuing to add a little water till we get something that's more along the broth lines. Also going to take a paper towel and clear a little bit of the paint away because as it spreads and moves, it's going to dominate the palette here. I'm just going to take a tiny bit. That way I have a little bit more room to mix here. I really, I love taking the artists through this step because this is often where artists will say, OK, now you get your colors ready to put on paper. And then new artists go to do this step and they just feel like something major has been overlooked. And it has, this is a really long process, finding the right color and getting it to the right consistency to then move forward and put it on paper. So pardon me, if you are more seasoned watercolor artist and this is not new news to you. But for those who are still considering themselves to be new or budding artists, I do like to, at least in the very first couple of videos, draw out this process so that everything is very clear. Alright, so I like it right about there. I'm going to move the palette off to the side and we're just going to practice structure now, Petals structure of the roses. So I'm going to bring one over just to kinda have a look at. So I do to hold my rose or whatever it is that I'm studying just to kinda have a look and play with positioning. And if I want it to be more open faced or if I want it to be more on its side, more of an angle to get some of this sort of under carriage of the flower. There's just so many different ways to move Flowers around to get those different postures. So you'll note that we have these very soft edges here with some minor points here along the very tip. So we're really going to play with that. But be very free form and loose as we do. So just type this guy right off to the side. And I do like to just have a look at my color before I apply it. And I do like what it's doing there. It's got some beautiful tone to it. It's really going to complement our climbing roses here. Okay, so we're going to begin is though. We already have the middle of our flower here. I'm just going to carve out some space here. So let's, let's move forward as though we have a middle here. And let's begin to take our filbert brush and we're going to apply medium pressure and begin building that rose. We're gonna start with some smaller petals here. And then we're going to gradually get a little bit fuller and fuller. You'll see we have a full Filbert stroke here. And I like to begin with this because it's sort of just grounds me. It shows me where to begin with this flower. I can begin to use the side of the filbert brush to add those more gestural elements to the whole flower. I'm going to take the brush, moving it on its side into a smaller stroke here. Same thing. Again, moving from using the face of the brush to the side of the brush to come up on those edges. And we're starting with those smaller petals, like I said, and will gradually work out and get something that's more full. Just beginning here. To fill in the fullness of this flower. I'm loving this color is such an elegant color here. Sort of a wine merlot. This is the point at which I like to say, Okay, I have a little bit of breathing room here in my flower. Not every single aspect is filled in, but there's enough there for me to move forward and begin to expand that flower. So that's what we're gonna do here, widening our stroke. So we're going to kinda come out here. We're going to look for the mid spot between two petals. So say we have this here in this here. I'm going to again, I'm going to take my brush and access that same shape of stroke. But I'm gonna do so with a half stroke and then another half stroke, so that we have something that's a little bit larger than what we have here. There we have something that's connected, but it doesn't remove the whitespace which is acting as our light. That's something I've talked about on repeat in our previous watercolor classes. Whitespace is X. It's an integral to Watercolor. It needs to make sure that it's very apparent that there is White acting as the sunlight or just as space in the flower. Again. Taking the side of the brush, roughing it up. Again, finding that midpoint, beginning to fill the space around using the side of the brush. Remember here that strokes do not have to look like strokes. I even just a marking, something as simple as this can serve as a stroke. Because when it's coupled with other strokes, it begins to really take on a Floral appearance. So I really want you to feel like you can embrace this brush, get really familiar with it, move it around, access all the different parts of it. Really using full strokes and half strokes. And also those gestural marks that just serve as something's happening here with the flower. Again. Come over here and I'm going to create this stroke that sort of comes out sideways to now give the appearance at this flower is coming up and towards this direction, the upper left-hand corner of the paper. Then move my way over so that it really does appear as though these petals are more on their side and these ones are kinda coming right up at us. Rose really gives way for there to be much freedom within the flower. We're gonna do this a couple more times together just to get a good sense of it and we'll move it a little faster so you can see how I actually move in real time when I'm not necessarily explaining the pressure of each stroke. So you can kinda see how moving fluidly we get a just to even more fluid process. Okay, so I'm going to grab another piece of paper. We'll come back over here and fill in our middles here, but I want us to get just a little bit more or excuse me, fill in our outers with our middles here, but I want you to just be a little bit more familiar and comfortable with the petals structure here. So I'm going to grab another piece of paper. Now let's go ahead and do the same thing, just moving a little bit quicker. So again, I'm not going to fill in the middle this time. I just wanted you to have a sense of what that size was supposed to be about the size of quarter. And now we're going to envision that there is a middle here and begin moving along the perimeter. We'll start with that pedal. Envisioning them Center here. Using the side of the filbert brush to create the center of that climbing rose, or the, the outer Center, I suppose. Playing with markings here. Now we'll begin to widen the strokes a bit, finding that midpoint between two puddles. And again, continuing to build out here until we have something that just feels very loose in nature. You can continue to poke and prod at the edges of your petals here if they're feeling too stiff. But again, with this climbing rose, it really does have a soft feel. There's not a whole lot of point to the petals, but you can see here there is some ruffling that happens here. And so you can take your brush and just sort of ruffle up the edges a bit. Let's do the same thing, but let's now paint from the posture of the sides. So we have our rose here. Let's paint something that mimics this posture here. Get it to lay on its side so you get an accurate representation. Okay. So let's start here with the bottom, and we're going to work our way up and push out my palette a little bit to give us a little bit more room. Also bring you back just a bit so you can see what we're doing here. So we're going to start here at the base with that pedal with just a line. And then we're going to wrap it up with our brush. Then we're gonna begin to move up. And then we're going to capture this puddle here. And again, working our way all the way forward and up. Continuing loose gestural approach. Really feel the freedom here. And being able to be loose with your strokes. Capturing these mid petals here. Remember we're not aiming petal for petal. We want something that does feel loose and open. Nothing that feels too stiff. Actually going to come back over here just to extend the length a bit. Alright, Now continuing the middle here. It's okay if some of your petals are touching, we just want to make sure that within certain parts of the rose there is whitespace. If things begin to touch each other too often, you really will lose that sense of the shape of the flower. Coming up here, working our way right about at this point with some looser marks. Coming out here towards the side using the side of the brush. Again, not working to capture each individual petal, but just the general shape. Our strokes are gonna get a little bit smaller. We're also going to work towards right here The petals are coming over to show that there's something happening here. Below. This is where the center of the flower would be. We won't see that as we don't see it here. But just intimating that something is happening. Coming back towards this direction, expanding that rose. And then we also have a petal right here. You can see that's very lovely. It's sort of covering the stem. I'm going to block off a little bit of color because it's more pale than the others. Then begin to carve that out. You can really play with consistency here. If we want it to do something that was a little bit more pale in nature, all we would have to do is add a bit more water to it to get something that's more broth consistency. We were really working with more of cough syrup consistency here, but let's do, I'm going to move fast here so that you can actually see how it looks like in progress. But we'll do something similar to this. You can see we're working with much lighter pigment here. And what you see here is going to dry. It's gonna get lighter and this is going to try to be very faint. Again using full strokes. And then also coming up on the side here. Getting a bit more water. Curving those Petals inward, expanding those outer petals. Sometimes it's nice to see it move quickly. I love to break down that first rose, but as you can see, we have something that's a little bit more structured. I still feel like we were able to capture something that feels loose and light here. They're very free form and liberating. But as we slow down that process and you'll notice that two, it'll just begin to feel a little bit more stagnant. So when you move your brush in a more fluid position and speed, you'll be able to kinda let go of whatever it is that you're holding onto, that fear of messing it up, that fear of perfection, and really just start to enjoy the process, which is obviously the sweet spot. Then if you wanted, you could always get your brush back into that cough syrup consistency. And then pull in a couple of petals here on the top while the media still wet. To get some beautiful bleeds. You can do that throughout the entire flower. You see here we have great bleeding happening, even without going back in and adding another layer of color. Just because this watercolor is so fantastic that it really provides great depth. And when we use those different consistencies, you can achieve something that has a gradient that moves from light to dark all on its own without having to pick up that cough syrup consistency and move back in. But as you can see in this flower, it's already moving towards something that just feels a little bit more unique. And each Flowers is essentially going to feel that way. So I'm gonna put my brush down. We're going to switch paper because I think I said I really want to give you a sense of how everything works on a different papers. So we're gonna move into hot press paper now. Go ahead and grab that and meet me back here. 6. Rose Structure on Arches Paper: Okay, you can see I have my arches hot press paper here. It's a nine by 12 pad. You can use bigger paper or a watercolor block, whatever works best for you. But this will give you a sense of how this approach feels on paper that just has a bit more, I suppose a bit less of a grit and texture to it and it's more smooth in nature, just for the heck of it because we are continuing to switch things up as we move forward. I'm gonna throw some Chinese White into our color. We're going to soften it just a tad. So go ahead and dab that quarter of your palette. You may need to spend a moment wiping off some color. I'm gonna do the same right here just because we have this sort of indigo happening, right? They're very dark. I don't mind if my colors mix and move on the palette so long as they are not compromising the integrity of the color. This blue is really going to turn things purple, so minimum. Sure we alleviate that but Fine, leaving the pink and the purple. That is part of the beauty of how it all just sort of works on the palette. Alright, so moving here, taking a pinup white and we're gonna get something that's more of a lavender now. It's going to have almost a gouache consistency. Now we're gonna be painting these roses and white as well. And I'm going to use a little bit of that white, but I'm also going to show you how we can create white, not using white. So it's a lot of different things that we're going to be moving forward in exploring. But I just want you to know as we move ahead that you're going to see a lot of different ways. And hopefully this will give you a really comprehensive feel of what you liked best. Alright, so I'm going to blot off a little bit at the color here, achieving something a bit more breath. And put my palette off to the side. We're gonna go back to our Canson paper in a moment and we'll fill in those petals that we originally made in the middle. But I want us to do the same thing here. So let's go ahead and again, pick up your round brush. Dip into that, that originally yellow color that we used. I'm just going to call it Cobalt yellow, even though it's pronunciation alludes me a rule in rolling. Like you have to be, have an accent in order to get that right. Okay, so let's go ahead and start here. And begin with those loose gestural marks. Something about a quarter in Size. And once we are right about there, Let's go ahead and dip into our new mixture, lavender color and begin. Play a little bit closer here. A little bit closer. And we'll begin to put it altogether creating those first strokes using full face petals and then also using the side of the brush. You can see we're having a whole different result here just by switching to hot press paper. And moment here I'm going to pull the canon Canson paper. You can see a side-by-side comparison. Again, finding that midpoint between the petals. And we haven't really beautiful open phase climbing rose here. Something that feels very Loose, can come a little closer to our center here with some smaller petals. Just so it doesn't feel as though it's to detach. But again, I do suggest leaving whitespace You can even expand your rose if you want something that's larger. Can kinda see you in reference to my hand. It's about that big. If you're working with big paper, you might want something that's bigger. So you can really pull out that. The capability of your filbert brush by doing those full strokes has, like I said, that peony like structure, but it's a little softer. Let's petals have more of a round bubble, cloud-like feel to them. Just like before we can dip into something that's a little bit more of a cough syrup consistency. And we can even plug into that original mixture that has a bit more of the, the wine color in it and begin to add just a little bit more pigment and blending here. You can see a little bit more of this color on my palette. Using it. A cough syrup consistency. It doesn't need to happen everywhere. It can just happen in certain parts of the picture, the painting, and create moments. I think that's what paintings are really all about is creating special moments within the composition where your eye is led to. And it really marks that is a special and pivotal moment within the painting. And then there's areas where there's just more breadth, there's more openness and you feel restful as you look upon it. So we're gonna do a different posture here on this paper. We're going to move to another side position here so that you can kinda get a sense of how that will work. Later on, we're gonna put a composition together on a full-page piece of paper. And take basically everything that we've learned and put it all together. But for now, just piece-by-piece. Again, starting on this side will create the bottom pedal, the line here. And then let's connect it to this. So it looks as though there are sort of like coupling together. They're cuddling up against one another. And then taking our Brush for full stroke, hear me out to the side. And then begin to fill in those upper petals. Taking the side of the brush, making some finer marks here, indicating that something is happening in here. And we can even plug that in because we have enough room here to then take our brush, our round, and then plug in those really lovely and loose gestural marks here. Letting those colors run together. And then again, dipping into that wine color on our palette. While the paper is still wet, we can plug in color. Just creating some special moments here. Then just taking a moment to kinda get the size and the shape of the whole thing. I'm going to take my brush and I'm just going to use the side of it to create a little bit more structure. I really want this rose to appear as though it's kinda sitting on top of this one imagining that there's a stem connecting at all. So to do that, I need to play with this structure here. I use the side of the brush and creating some harder points to act as ruffles, but also keeping the structure soft. On there you have it. We're going to jump back to our Canson paper and fill in the petals there so that we can see what that looks like on our Canson paper. And then we'll do a side-by-side comparison 7. Adding Petals on Canson Paper: Okay, so we've moved back over to our canson 140 pound cold press, and we'll do a side-by-side comparison just a moment. You can continue to use that mixture in which or to which we added the Chinese White, which is what I will be using. Or if you liked the look of that Powder with the yellow, then you could use that as well. That's what we used here with this flower. So it's completely artist's choice there. So let's begin to fill in the structure to both of these climbing roses. I'm gonna show you again my reference image so that we can draw inspiration from here, but not be so attached to what it looks like that we're unable to really get loose here. We have something that's going to look like this. You'll see how this one, we're going to keep it open like this and then this one be a little bit more on its side. All right, so let's start here with these little cuddling and nature petals. Again, you can come up to the yellow and even cross over to it. Again, really drying out the softness of these petals. By using the toe of the filbert brush. Making sure to leave the whitespace so that we don't lose the sense of structure. Using just some loose markings over here to indicate that something's happening over here on the page. And then coming up here to close it off. And then using the brush to sort of curve these last few petals. You can see we have something that it's very similar to what's happening here. And if you like, you can even take your brush and come up on top of the yellow. It'll blend nicely. And close that off a little. Let's go ahead and do the same over here. This time I'm going to pick up a little bit more yellow on my palette just so that we have a different result. All about giving you a different color options here, so we don't want something brown. So let's make sure that we're getting something on the yellow side. And not going to pull too much more of that Grape coloring because I don't want it brown, but I'm gonna pull a little pink into there. That's our Rose Lake. And now we're gonna have something that's more along the apricot line. Mixing it till it's right about here. Broth consistency. Alright, let's go ahead and do the same thing. We're going to start up top this time. Again, really get loose with your hands. Try not to be too tightly holding your brush on, but really sit back on it and let the brush sort of whisk around the paper Never forget that even just marks can serve as petals. Continuing to work our way round. I'm gonna make one large petal here to really show the potential of this flower. Although the petals structure typically in these Flowers is very similar, meaning that each petal doesn't sand so distinct from The next. Sometimes to be able to just kinda give life to the flower, I'll do an abnormally large pedal to just kinda give again like a moment to that composition. And then just kinda running it up against this one here. So if we were attaching these flowers together, we want something that's that doesn't stand separate because rarely in a bouquet do we see flowers that are just completely spaced apart. They're usually nestled against each other. So doing so in our paintings will help us when we come together for our class project and put it all together. I'm again, I'm just sort of standing back, seen what I have, deciding whether or not there needs to be some strokes at it. I feel like kinda combining this area here to create some shadows works nicely. And then maybe some looser marks around the sides. And in the middle. So you can see we have a really beautiful apricot color and something similar in shape and stature. This one's a little bit more facing up. This one's more of an open face. So really giving you some variety. Let's do a side-by-side comparison of our Canson and her Arches. I'm going to pull back here. You can see. So there are definitely some notable differences here, especially with the texture. The texture is going to be the biggest difference here. But because I used the smooth ER side of this paper, it's close enough to this hot press that it doesn't look as though it was like painted on Canvas, so to speak. So you'll see that there's some areas that just look a little bit more texturize. And then here we added some of those darker lines to bleed together. And so that really helps these flowers to stand out a bit more. But overall, you can see there are some similarities that really fascinating to note. But also there's some differences too that really make each one stand apart and feel unique. So I hope that that allows you to see the difference between two papers. This is quite a bit more expensive than our Canson, but it does really bear that beautiful lux texture that so many of us enjoy with watercolor. 8. Painting White Roses: It is officially that time to clear off your palate, gets yourself a fresh cup of water and rinse your brush thoroughly. We're going to be dipping our toes into white watercolor and these next series of videos. So I want to make sure you have no pinks browns, or actually we're going to be using some browns, but none of the Grape tones on your palette. Because we're really going to create some beautiful white tones here. I want to give you lots of options. So you can see what you're basically capable of using a variety of supplies. So this is again, our Canson watercolor paper. That to the side here. This is the smooth ER side that I'm using. You're welcome to flip it over if you would prefer to use the more textured side. And we'll begin. Actually, let me bring you back here just so you can see what will be putting on her palette. We're gonna be using the Burnt umber. So go ahead and just do a little DOB onto the side here. Next we're going be using Carbon Black. This is from our Maimeri Blu. Give yourself a little bit of room there. Then also little bit of our Chinese White. Alright, so making sure that your brush is nice and clean here. We will. Getting a little bit of water. We're going to start with a Carbon Black and Sophia mixture. Bring you in a little bit closer so you can see really rich, beautiful brown here. Just a tiny bit. You don't need a whole lot. Again, same thing with our Carbon Black. Nice little pile here. And then we're going to bring it out one step further, diluted again to create a really soft wash of color. Again, adding water until it's very pale, going to add just a touch more black to it. Diluting that one more time. Until we have something that looks just about like that. The paper background like this. And we're gonna begin by envisioning that there is a small center here and there will be working our way out. White watercolor is one of my absolute favorite, favorites to use. It's such a beautiful color to enhance a composition, to give it lightness, to give it that soft, elegant, regal feel. When we come together for our final project will be using a variety of colors and you'll see how a white nestled up against the apricot, that wind mulberry color we used. And the beginning really just benefits the overall composition. You can see if you're looking at my nails here, that the white that we're gonna be using is a far stretch from the white that will appear here on paper. However, the white paper is what we're going to see, sort of pulled the, It's going to be prominent because the watercolor is translucent and will be able to see that white paper shine through, which will give it more of a white appearance. Again, envisioning that we have our center here. Begin to make our petals. Looking for that mid spot. Again, just working my way around Using the side of the brush and marks to serve. Going to create a really nice larger pedal here. And one right here. To really give some beautiful depth and structure to that Rose. Okay, So before we add the center to that, I'm going to show you a different mixture of white that you can use. And we'll use that within the same composition. Again, pulling on our palette here and let's use this touch of Chinese White, which again is going to give it a gouache texture. We're going to add that to our palette here. Again, mixing it thoroughly. Toy, have something that's quite a bit lighter. And what we originally had. Now normally I will not use white watercolor to create white. It dries pale enough that I'm happy and satisfied. But lately I've been using a bit of this in my professional work and I'm liking the results, so I wanted to share that with you. Okay, So we're gonna do rose right over here off to the side. Something like this. I like to play with the posture of the roses. This is gonna be a little bit bigger than what we're doing just because the size of the paper I'm accommodating. But again, we're going to fill in those leaves soon. So we're just kinda looking at all the different ways we can play with it. Something right around there. Just put that right after the side. And we're gonna do the same thing. Starting with our generous puddle here. Adding just a touch more water. Then beginning to close. Just a bit. On that rose. Using this side of the brush to give some gestural marks. And then I'll begin to close off the rose. Taking the brush, scrubbing it against the side here, leaving enough whitespace so that you can see there's definitely a separation between these two roses, but not so much that they feel as though they're disjointed or disconnected. You can see we have a tone that's just slightly lighter than what we have here. We're gonna go one step further and diluted again to a very light consistency, very, very light adding water. And so we have something extremely pale. And we're going to flower right on top here. Really taking my time to work the Watercolor around, making sure it's the correct consistency. You could even do a practice swatch just to make sure that there is a distinct color between are a distinct difference between these colors. I think many of you are really going to have FUN with the difference in tonal value here and make a beautiful cluster of white flowers using all three of these different whites. Then I'm going to close it off just a little bit here. So that when we add our center, it'll be a nice defining difference between what is flower and what is Center. Okay? So you can see an, as they try things are going to shift just a bit as well. But you gotta, you can already tell we have the darkest version here and then moving up in this direction. So let's go ahead and put a little bit of our role in on the palette. And then using our number six round, we're going to change up the center of our flower color just a little bit to something a little bit more muted. I want you to add a touch of that Burnt umber to it. We have something that's a little bit more of a Gold, yellow and not so Crayola yellow. Again, giving you options is my overall goal of this class. Really want you to see that there's so much potential with watercolor just by changing up little details along the way. Okay, so again, let's start down here where things are just a slightly drier. And we're going to use the toothbrush. Remember you're not completely up and down. You're off to the side a little bit, sit back on that brush, loosen up your grip and graze the paper. Beginning to do that playful center of the rose. The entire center does not have to be filled in. You can leave large areas of white. It's completely up to you. Small lines and dots. Do the same. Religious grazing. The Paper vary ever so gently. To the top flower where things are mostly dry. Picking up a bit more paint on my palette, and then adding things in while it's still wet, which you'll see again. It's another beautiful option. Can wait till things are dry, on dry. Or while the flower is still wet. You can add in that yellow for some really lovely watercolor effect. Habit. Really beautiful white watercolor with a touch of a muted Gold Center 9. Expressive Leaves: So I pulled out two new colors for this next section as we work on leaf structures is my tried and true. Daniel Smith, Undersea Green and then I also have Rich Green Gold. These two are powerhouses and the watercolor world and my most favorite colors. And I like to use them on their own within a single composition and then also blend them together with the addition of a Burnt umber, which is also on our palette already. You'll see we already have all of those colors, so sure you have a nice little dab off to the side here. We're also switching it up. I know I keep switching things on you. Hopefully that doesn't feel overwhelming, but just exciting as we keep playing with different surfaces. So this is our legion 140 pound cold press paper. So we're going to practice leaf structure here together before we pull it altogether on our white bouquet that we just did momentarily. And then again, when we come back together for our final class project, Let's go ahead and I'm going to show you a couple of different options. We're going to use our filbert brush. First, I'm gonna pull out a little bit of Rich Green Gold and the Undersea Green and create a really beautiful Rich Green I'm giving you. I'm really ringing you into my world here because this is such a special color for me. It's prominent and a lot of my work and don't see a lot of this combination. Okay? So there's a couple of different ways we can approach these rose leaves. I'm going to bring over rose right now. Just so you can kinda see what we have here. There's these really lovely ridges on the edges of the leaves here. So we're going to play with that structure and then we'll also going to just loosen it up to, but you have this three-pronged leaf here that will play with. And then we also just have these simple sort of almond shaped leaves with the ridges. So let's go ahead and just leave this little guy right there. Let's start with the most simple. Let's create an almond shaped leaf, but let's go ahead and load this brush, put it off to the side. And any of you who've taken my class note that this is my favorite technique. This saves me the stress of having to be concerned about mixing up my watercolor or having it ready while things are still wet. Being, especially with a paper that has more texture to it, like a legion. You want to make sure you are moving quickly enough. If you are wanting to achieve wet into wet, that you don't have to pause, stop, blot rents mix because all that takes time and then what happens is things have dried and, um, that affect you were trying to achieve. You've missed the window for it. So I'm take your number six brush, load that brush as well, be sure to mix because that Undersea Green really likes to separate. Then you're going to set that brush just off to the side. We'll come back to that in a moment. Alright, so let's start with our almond shaped leaf here. So we're just going to do simple stroke. Simple stroke. Let's do that. But let's change the direction a little bit. On stroke, picking up a little more water. And then let's go ahead and do one. Facing this way. A little bit bigger, stroke and stroke. Now let's pick up our round brush that's already loaded, but you might want to just kinda reacquainted. And let's begin adding those lovely ridges to the side here. Just grazing the page. And let's do the same over here. A little bit of a tip as well. And again, expanding that leaf with little. You can see these greens are just so lux together, just absolutely stunning. And you can add more color into the center if you like. This one's already quite dark, but you could add a little bit more color there. Run your toe of your brush through the center here. So again, that's just that Ullman shape that we're working with. And then taking the edge of that round brush and roughing up the sides. It's a very simple, very, very simple and straightforward process, but it does take time to figure out how it all times together. So take a moment. If you practice with a whole page and religious, get a sense of this before you come back to our final project. So we're going to do that again just to have another look at it. And then I'm also going to show you just these colors on their own so we can see the difference between them. And then we'll do some complicated leaves as well just to kinda get memorial gestural field Alright, so let's go ahead and pick up a little bit of the Rich Green Gold, little bit of the Burnt Umber. Really take a moment to mix that. Then we'll add a touch of Undersea Green. And we're gonna do the same thing, but we're just gonna do a different shape. We're going to start with our line. Nice and long thick, plot a little bit more water and then we're going to add what we see right here. And then just moving that a little bit long, curving that a little more. And then taking our brush into that mixture. While things are still nice and wet, roughing up the edges. To create a really lovely. We actually have some really playful edging and ruffling down here. Then I'm going to take the brush, just sort of play with it here so that we have something that's similar in nature. So you'll see we have the two different colors. Both are really beautiful. They can be used in conjunction because they're complimentary. You can even take a little bit of green, pop that in there. Alright, then I move this off to the side. The same thing over here, store a nice wide stroke. Going to use a little bit, slightly less paint just to get something a little lighter. Let's do the same thing. Now we have something that's a little lighter. Again, popping my brush into that mixture. Now we have a little bit more of a bleed capability here. Adding those nice little rough edges. Then let's do this playful little leaf that I see right up here. We have this three-pronged shape coming straight out of the stem. Let's pop back into our Undersea Green, Rich Green Gold broth consistency. And let's start with one stroke. Two strokes, three strokes. Let's pop into our color here. And begin. Careful not to smudge if you have what media. And just begin to rough up the sides of that leaf. We have some really playful little lines happening there. Draw those out, beautiful gestural. And then if we were to pull that leaf in, we have something that's sort of looks like this. Then we can imagine that there's a rose coming right through here. So again, envisioning what you have in mind is so important as you're planning out a composition, It's a lot to keep in your mind and think about. But the more you're able to do that, the easier the process will be when it comes time to actually put it on paper. So always be thinking about directions, size, and shape. We have three leaves here that all are very similar, but they're distinct and their own right using a variety of colors. So you can see here the legion paper is just, it's so beautiful and using a lex less texturize Size side in case I did not mention that before. It's smoother than the other side, but it's still quite texturize out of all the papers that we're using. So again, really beautiful leaves here. Hopefully I've given you enough to now go forward, take a whole page and really just relish that leaf structure and playing with different sizes and shapes and colors and consistencies 10. Creating Rose Buds: You'll see we have a lovely little bud off to the side here. This is awesome for my garden and such a beautiful way to add some delicacy and also some structure to a composition. So again, while I'm working, if I am using a live study, I love to just play with the arrangement, moving the butter round to see, okay, what are my options here? As I turn things here to the side. And you can see we have some really beautiful areas in which to add some buds. So we're gonna do that. We'll be adding the leaves, like I said shortly. And we'll pull it all together in a, a final project where we're using apricots and the mulberry and the white and buds and leaves altogether to create something really beautiful. But for now we're going to study our Buds structure. Just having a look at this, a very tightly closed bud, I'm going to show you a couple of different options. We'll do a little wet into wet and also dry on dry, just so you can see what the different effect would be using each technique. So I'm gonna put this, I don't have to the side here. We're going to continue with our whites. So again, you may use whatever mixture you like. If you want to use your most pale with the Chinese White, you can do that if you liked little bit of a darker version, you can do that as well. You may also just want to play with the color depending on what's happening on your page. So see, you know, your pale Flowers up here. You may want to add pale Buds over here as though these two are connected. So again, completely up to you. I'm just going to freshen up my paint here. I am going to use the Chinese White with this Burnt umber and Carbon Black. And I'm going to mix that. Show you here to a nice broth consistency. Now for this bud, I'm going to do a really tight closed bud here. And it's very simple. I try not to get too complicated here. Even though I cannot take a poll in this class, I wonder how many of you have tried to paint any flower in particular, but especially buds. Because they are so intricate structure, it can be really overwhelming. Trying to capture that beauty on paper. We really have to pull back and see it as though we're looking through a blurry window and just kinda get the overall sense of the shapes. We have something that's almost like a Hershey Kiss. If you've taken my classes, you know that I love to compare what I see to everyday objects or foods. It just makes it a lot easier for us to understand and to say into grasp that concept. So we have something that's almost shaped like a Hershey Kiss. So you can kinda think about that shape as you're working. Then we have these very, almost like these triangles have been stretched out to come up over the tip of the petals here. And then we have this bottom structure here, which is sort of like an upside down bell. So we're going to utilize all those different components, but we're gonna do so in a way that is not stiff, that's not overworking. And really just focus on the overall structure and less petal for petal, exactly what we see coming up to right about. Here. I'm gonna begin one stroke and then connecting with a second. And it's a very simple two-stroke. However, again, I always want to emphasize here that what looks easy from someone doing it professionally, especially somebody who's had hours and hours of practice of this, is preparing this class. Please don't get frustrated if it doesn't come out exactly the way that it looks on my end, what you bring to your process is part of what makes you unique. And that's something to really celebrate and to not be discouraged by. I'm just going to leave it just like that for that. But in particular, we're going to create a little bit more on our left side here, imagining that are buds are opening slightly. I'm also going to point this bud downwards. That's another thing I really want to emphasize as well, that a positioning your florals in multiple different directions is really going to aid and benefit to the overall composition. If every single flower is facing the same way. If every Flowers the same tonal value and the same size, you're really going to have a painting that feels one-dimensional. But by changing up the size and by changing up the direction of each flower, you really, you add so much depth to your painting. Again, our Hershey Kiss. But I'm also going to create another mark right here off to the side so that it's slightly more open than what we have here. I'm gonna do the same thing. Coming down, opening up just a little bit there. Then I'm going to create one stroke along the side. And then one more right over here. Now we have a variety of shapes and sizes. And we're gonna be adding the stems and the Leaves to, to this painting, bringing it altogether 11. Adding Stems and leaves: Okay, so here we are returning to our little white composition that we had previously painted. We're going to be adding the stems and the leaves here before we wrap up the, the exploration part of our class and then move into the full project. So let's go ahead and refresh our greens. If you haven't already. A little bit of the Daniel Smith and the Rich Green Gold. Sure you have enough to support all the leaves and mix that. Well. Let's go ahead and start with the Stems. Know stems. I have to just again emphasize here, they're much easier painted than they are actually achieved, which doesn't make any sense. But what I mean to say is that it looks a lot easier watching someone do it than it is to actually do it because it is a whole moving through the process from head to heart to hand, to brush to paper. So this is something that you might also want to study and play with on a separate piece of paper so that you feel confident and comfortable getting the right flow. So as we were talking about before, we had this very tight rose here. And we're going to be achieving something that's very similar to this. By coming up here at the top of the rose, very tippy toe of the brush. So make sure that you are not dripping here, but you have enough paint on your brush. And we're going to come up right here at the top to create that Fine little mark. Then we're going to pull that down right about there. And then we're going to stop right there and create a little curve mark to serve as our upside down bell shape. Then we're gonna do the same thing right here. Coming up over the side and bring that stroke down does not have to be exact. There's a little mark over on this side, but I'm going to change the posture of that a bit. Pull that through, and then do the same thing over here. Just grazing the side of that rose that I'm going to pull the stem all the way through. Put that off to the side. We worked through the remainder. Same thing over here. And pulling that stem all the way through. And just sort of playing here with the base of that been doing the same thing here. My paper just a bit, get a better angle and pulling that stem all the way through. One more time here. No. This is the point where I like to really play with the forum. And so I'll take my brush and let's just begin to add some really lovely lines through here, just to kinda rough things up a bit. So this is just this structure once more. But using it over here to add just complimentary stems. If it's feeling to space, spaced out to me, I'll use that to fill in the space to just give it a really nice flow. Same thing over here. Just filling in the space. To show that this is a nice full bouquet. We don't want something that feels so separated as to be disjointed. Once I have a couple of those plugged in, then I like to, okay, let's start connecting things. You're going to bring that stem all the way through medium pressure. Way down to the bottom of the page. Same thing, touching this stem. Imagining it positioned somewhere right around here. And bring that down. Having uneven Stems is really lovely. Try not to line up all your Stems exactly. And again, we're imagining something's happening right around there. Let's plug in some leaves. Again using our reference from before Let's take our round brush and begin rough up the sides. You can see we're using Canson paper here. So the results are gonna be a little bit different. Catching a stem here, bringing it all back to base. And then using that side of the brush to rough up the edges. Let's do the same thing on the other side. Let's do a nice big leaf and let's curve that leaf. Let's connect the stem here. Remember those really beautiful gestural markings that have happened along the stem. Let's plug in a couple of those. Really loose, just allowing your wrist is sort of move across the paper. And we can begin to roughen up the sides of that leaf. Really playing with posture here. And feeling as though this could benefit from another leaf. I'm gonna do the same thing. Adding a touch more of the Undersea Green to get a different feel, different color combination. Using the side of the brush. Connecting, not here. Not everything has to be connected. Also. Don't want you to feel as though everything needs to line up, tear. We do have a floating stem that is not connected all the way down. So look within your composition, see if things are just feeling like they could benefit from a few more additives. For example, there's a lot of Buds over here, but there's only three stems. So what you could do is take your brush and just sort of in the same direction. Indicate that there's more happening here. Same here. Taking that following all the way through, There's a nice thick bud happening there. I know necessarily, I wouldn't say that this piece is done, but it's done enough so that I feel as though it encompasses everything that I'm striving for within a piece of trying to get the full view for you here. So I would probably at this point just take a step back and figure out where I want things. You may be a little bit fuller where I want things lined up, but I love where it is in the page. I'm not running up against the edges here. There's enough of a perimeter along the top and the bottom, which is something that I always aim for when painting. And it feels, it feels good and right. You could always add some more of these elements. These the closing off of the bud over here, just to play with it. I totally invite you to do that. By the way, just really take your time to to enjoy that process and not feel like it has to look exactly like what I have in front of you. On the other thing that you could possibly do is this is just an extra add-on. You could take your round brush, dip into your Burnt Umber. You could add few more details to the center of your roses here. So you're just taking the brush and just adding a few little seeds and dotting this and flex. Just bring the eye. You can kinda see before things are sort of, they're blending in their soft as the leaves are really the focal point of this point, the painting. To change that you can bring in some darker elements to break up or the eyes are leading and I wouldn't overdo it here. I would just do it slightly and loose. You don't even have to do it to every flower. You could just do it in certain areas. Really artists liberty here. I tried to give you the tools and techniques and then let you really run with the approach here. So again, feel free to play with this Structure and this technique and approach and figure out what feels most like you. So this will be the wrapping up of our study and exploration segments, and then we'll move onto a beautiful class project together. So please, after you've had some time practicing stems and leaves and just adding details, join me for a beautiful project. 12. Class Project Part 1: We are ready to move forward with our class project. We're gonna be working with our arches hot press paper or at least in, if you prefer, one of the other papers we use, the Canson or the legion or even a different brands are more than welcome to use that. But didn't want to let you know that this is what I will be using. I also am going to have two pallets setup and I do recommend this as well, one for your whites and your greens and have a little separation there. Then one for your pinks and apricot color. Because we're gonna be using all of the colors that we, we explored while we were in a study portion of our time together. So I want to be able to bring all of that together. And you're going to need room to mix. So make sure you have ample room to do so. Make sure your water glass is refilled with freshwater and you have rinse your brushes as well. And that's your space is cleared off. You have enough arm room. You're not hungry. All of a thing. Let's make sure you're as comfortable as possible as we just move forward and create something beautiful together. So I'm very excited, I've prepared all my palettes, have a little bit of that Grape Powder. I have the Rose Lake, and then I also have the role in yellow, the Rich Green, Gold, Undersea Green, Burnt Umber, Carbon Black, and Chinese White. So I have a little bit of everything on my palette. We'll be using most of it, if not all of it, as we create and just want you to have everything ready and at your disposal. Let's go ahead and begin by mixing. I'm going to do that port that part off camera just because it takes a little while and I want to just launch right into this and we've covered it multiple times. So I'll show you the final result after I have things mixed. But I'm gonna let you do that since we've already talked in depth about ratios and consistency of color. Okay, so I have this beautiful mulberry color here, the combination of the Rose Lake and that Grape Powder. And then you can add a touch of the Burnt umber to it if you want. I'm going to opt not to just to have a different result than what we had before. So I'm like I said, which with each video I'm trying to do something different so that you'll see step-by-step how things changed as we progressed. So this is the color and then we can draw it out one step further to create a lighter mixture of it. So if you want to create petals that are lighter towards the center and then darker or even to all one color, and then head back in to the pedal while things are wet. With the cough syrup consistency, which is what I plan to do, you'll see that that will create a beautiful bleed effect as well. So just make sure that you have a nice cough syrup consistency. Then we're just going to gradually work our way around the palate to create different colors. The next step will be creating that lovely apricot that we created before. And then moving into the whites. And then we'll fill in the centers. And then we'll do Stems and Leaves to wrap things up. I'm going to move rapidly, but a little bit quicker than I did when we were practicing and studying formation. Just so that you can kinda get a sense of flow. A lot of people love to watch the class project even before they are painting with me just to get a sense of the whole piece, has it as it goes together and flows as a composition. Alright, so really rotating my brush here and I'm going to dip into my broth consistency with composition. Because we're working here with a nine by 12. I don't have a whole lot of room. I tend to work 10-by-12 and up. So I'm really going to have to be mindful of how I position things and the size of things. So I'm going to begin with a large climbing rose here. And then I'm gonna be doing to smaller roses. And then we'll do our buds and the upper left-hand corner. We want to stay mindful that we're not coming up too close to these edges. Here are the top or the bottom, or things are going to start to look crowded. So let's deviate off to the side here. We're going to deviate slightly to the left and begin by imagining we have about a quarter size Center here in the middle, starting with those smaller petals. Looking for that space in-between. Blotting off just a little bit. Continuing to work my way around the flower And then I'm going to curve the brush back towards the center here. And again, a large puddle in this direction. I'm liking the shape of things so far, making sure I have enough room to continue working around. At this point, I would stop. I'm going to pick up my round brush. I'm going to head into my cough syrup consistency and add a little bit of color right here. As things began to touch. For some beautiful bleeds. Closing things off just a little bit. Roughing things up, just a smudge, kinda upping our game here. This is a next level climbing rose, putting it all together for the whole feel. Okay, so I like the size that I liked, the shape. I do think that it can benefit from one more petal just to make it distinct from The next two flowers that I have in mind. So I am going to do that. Going to add a petal right here, a nice big one. I'm going to take my brush. Not alongside here. Going to add one more right here. Pulling that altogether. And I feel very satisfied with the shape and the size with one small modification. Going to round that off a little bit. Here we go. Okay, I'm ready to make my apricot color, so I'm going to use that same pink. But this time I'm going to add a little bit of that, a role in yellow to it. Until I have something that feels nice and Peachy. Continuing to mix and rotate those bristles thoroughly. This rose is going to be significantly smaller. In order to give a bit more interests to the composition. I'm gonna do it right on top here. Starting with those base petals, just to sort of go around things in. And then coming up towards the center. Adding a bit more water to my mixture. Connecting so that things aren't feeling too disconnected. And feeling pretty good about this. Close it off just a little bit. Remember those markets serve as Petals? All right, so I like where this is at as well. I'm going to do one more small rose right over here. I'm going to turn the paper just slightly. This one's gonna be on its side like we practiced in our very early videos, where you will not see any Center. It's just moving things up. Making connections between the petals. Lightening my consistency just a bit. To create some software petals here. Again, playing with size and positioning. Here I have flower that's coming. I have a flower that's coming down just slightly lower than this one, roughing up that edge. And then I have a large one and then a smaller. So again, being able to play with size and shape and positioning really as a benefit. And are you want to nestle that flower up against the other? Alright, so next we will move into our white. So go ahead and rinse your brush thoroughly. You may even need to change your water. I have an extra right here, so I'm not going to need to actually stop and do that. 13. Class Project Part 2: To prepare my whites, make sure they're ready. And add a little bit of that Chinese White. And there we go, drawing it out just a little bit further. And we're going to place a smaller rose right here at an angle. Again, we're working with the shape of the paper or being mindful of the size of each element and the direction of each element, we want things moving in all sorts of directions to give that feel of life and breath. Let's go ahead and we're gonna do a nice big petal here to show that this is a closed rose. And begin to close that off up top. Gonna do the same thing. On this side. Turning our paper just a bit to get a better angle. This one will be open, so we're going to leave a nice open space here. Closing it off on the bottom. Being mindful not to run up to close to your edge here. Back to my rose over here and just going to add some finer elements, excuse me, some finer components facets to this petal. Just to give it a bit more interest. Sometimes it feels like over complicating the flower. And so I'd rather do too little at first and then be able to come back and say, okay, it needs a little bit more drama, a little more intrigue than overwork it initially and not be able to undo because watercolor, as we all know, is a very unforgiving medium. Once you've laid down your stroke, you are done. Okay? So again, I'm liking the size and the positioning of each element and feeling really good. We are going to do some buds. So let's go ahead and move towards the upper left-hand corner. I'm going to start with my pink. And we want this bud sort of coming up and down. So we're going to angle or paper just a little bit to be able to accommodate that structure. Remember, we're doing like our Hershey Kiss, one stroke, two-stroke. Then I'm going to blot off just a little bit, dip into that apricot mixture. I'm gonna do the same thing, but slightly further. I'm second-guessing myself. Sometimes I need to stand back, look at what room I have available and decide, okay. Where do I want? Because I'm I'm already thinking ahead to I need room for leaves over here, so I think I'm going to change that. And I'm going to start coming up towards the middle here, 112.1 to keep it open just a little bit. Mixing my pink and my apricot together to get a marriage between those two colors. And deciding one more right here, allowing them to touch. And one more to the side here. Making sure to leave some breaths and flow within the composition, making sure the levels of each portion, you feel symmetrical and balanced, but not identical. I'm going to pick up my round brush. Just Sharpen that up just a tiny bit. Now I'm gonna begin to mix migraines again, you may need to rinse your brush thoroughly, even change your water. As you begin to prepare your green mixture, which consists of the Daniel Smith Undersea Green and the Rich Green Gold. I'm loading up my round brush as well. And I'm gonna begin to plug in those leaves using that all men structured. Starting down here. And another, turning my paper just so slightly. And then using my brush, my round brush to rough up those edges. Working wet into wet here to get those beautiful bleeds. And turning my paper upside down now to get a really nice angle and a dip into my Undersea Green. A little bit more. Bread. Nice big leaf here. Turning it back and round. And plugging in those lovely Loose ruffles. Running my brush through the middle of that leaf. Can do that while things are still wet, or you can wait until they're dry to add a vein. Now let's begin to plug in our Stems and making our connections here, just like we did before. Working with things while there's still just a tad wet. You can wait until things are fully dry if you like, and come back or even do a little bit of both. Be careful where you're placing your side of your hand and pulling those stems all the way through. Repeating that step over here. And making your connection all the way through. Taking opportunity to fill in that space there with some gestural marks. And we're really starting to see how it's all moving together. And now we'll start to make our connections with the stems. So we're looking at things, wanting to bring them and guide them down towards the middle. Making our connections through our roses and our buds. You can connect up here or you can leave things sort of open and free flow if you like. You can connect your leaves as well or leave them sort of floating. Few like Next step is we're gonna be creating the centers of our Flowers, bringing together that Burnt umber and the yellow for that muted Gold, which is really going to pair so beautifully with our roses here. So let's go ahead and stop. Start in the upper left-hand corner, watching your poem. Begin with those beautiful loose gestural swirls and lines moving around as we create. You wanted to keep it loose. Try not to overthink that Center. If you want, you can go back and kinda get a feel for how those they explode in a very playful every direction sort of manners, you can just kinda get a sense of that. But remember, sometimes less is absolutely more. I'm going to leave this one nice and open. At this point, what you could do is wait for things to dry and then you can head back in with that Burnt Umber if you like, or while wet, you can add a little bit of that Burnt numbers. We haven't done that, so let's go ahead and do that now so you can see what that looks like. So I'm kinda coming up around the edge of where things are wet but not really flooding the paint. Again, just using the tippy toe of the brush. And you can see it's bringing a lot of interest into the painting, giving the eye even more to look at. So at this point, this is what I would put my brush down. I might allow things to dry and then come back with fresh eyes and decide, You know what? It's still needs a little bit more work. It's not exactly where he would have it as a professional put it in my shop painting. But I feel good about where it's at right now and I'm ready to step away. So I hope you enjoyed working with this paper. This is my, like I said, my professional paper. I use it with within all of my commissions and just my own work that I create for friends and family. I hope you enjoyed as well. We hadn't worked with this in depth yet. So something new I hope you feel is there'll be explored so many different facets of, of, of watercolor and Supplies. And just feel like you're ready to play now, I want to thank you again for joining me for this class and for taking time to just be an OT and inspired by nature. So happy creating to you and please be sure to tag me on Instagram when you post your work, I would love to see and connect with you. So you have a great week and I will see you back in class next time.