Transcripts
1. Class Intro: Hello, I'm Daniella Melon and author and artist. Thanks for joining me for today's class on painting Watercolor Gerber Daisies. Gerber Daisies are beautiful, flat headed flowers that come in many colors. They have multiple rows of concentric pedals and are an artist stream to paint in. Today's class will paint three images of this elegant blossom. The first illustration is geared towards beginners and features a portrait of a daisy in soft pink and purple. The second image captures the graceful profile of a boulder colored blossom and uses a technique for advanced beginners. The last painting combines two images to produce orange and yellow flowers. This image is geared towards advanced beginners as well. To start your painting, gather your painting supplies, download the class template select from the five Daisy illustrations, and she was the one you'd like to paint. I've included a chapter on different ways to use the template. After you've chosen your daisy, trace it onto watercolor paper, and then we'll start the process of building our image. Each layer is broken down into its own class, with the 1st 2 illustrations taking only six steps from start to finish for your class project create your own Gerber Daisy. Using the steps shown, take a photo of your artwork and posted in the project section. Please be sure to follow me here on skill share to get notified of future classes and please consider leaving your review. Now let's get started.
2. Class Supplies: the supplies for our Watercolor Daisies class include the template, which you can download. It includes five images, and in the next chapter I'll show you how to use those images in various configurations. I have my palate with my water color pigments, and then I have some water color paper. This is £140 I've cut a bunch into five by seven sheets. I have some eight by 10. You can also use five by five or six by six squares or a full sheet of watercolor paper. Nine by 12 or larger. I have an assortment of brushes. I have a 146 and eight. I have water. I have a couple of jugs of water and then I have my waterproof marker, which I'll use when I use the template, and we'll go over that in the next chapter.
3. Using the Template: to use the template. All you need is a light source. Here I have a little light pad that's connected to an outlet, and I can turn it on and illuminates the bottom of the pad. What I do is I put my template on that light source and then I'll put my paper on top of it and trace my image. Now, if you don't have a pad, that's OK. You can use any light source, and by that I mean even a window, so you can just put it up in your window. And with the day light shining in, you put your template down and then your paper down on top, and then you can trace over it. So here what I do is I just find this is my five by seven paper. I find my image that I'm going to use, and then I figure out where I want to put it on my template so that I have it. So with this one, the ark is up top here. I could move it around if I only want to use partial, um, of the A partial image, and I do that accordingly, and I'll trace them. And so for here, I've already done too. And I have this image here, and I just added a stem and we'll paint this one in class. And then I took this one over here, and I just traced that to get a variation on that, you can flip over the template and it will still come through on your, um, image here in your paper, little fainter, and you could just trace around it. So what I've done this is an eight by 10 piece of watercolor paper. So what I've done is I've taken my image here, and I flipped over my template, and I traced my image as I wanted it. So this was gonna be the main focus of my painting. And then I wanted to add another flower. So I flipped my template over to see which flower I want to use, and I'll just add it right in. So I think I'll have this one and I'll add it here and then I'll just speed this up so you can see the process that I use. I do take my time while in tracing because I'm using a permanent marker, not a pencil an eraser, and here I have my second image. So there I have the paper that I'm going to paint on. If you want, you can add additional images as well and just continue to add them and to have your painting set up the way you'd like it before you start, you could also modify the template on your own, and just by that you just change the shape of the pedals. If you want the more pointy or more rounded, you can go in there and do that. If you were gonna do that route, I would suggest going in with a pencil. Lightly trace your image, modify it the way you want with that pencil and then go over it with your waterproof permanent marker and erase the pencil marks before you start your painting in. The next chapter will start painting or first daisy
4. Daisy #1: Layer 1: just start painting are Daisy. The first thing we have to decide is what color to make it. The pedals of riel, Gerber, Daisy come in all colors except blue and green. So really, anything goes. And you could, of course, always paint them blue or green if you'd like. I'm gonna paint this one pinks and purples to start with. And I want to really attractive, painterly image. So to achieve that, I'm going to leave a lot of white on my image here. The actual pedals, the center in the stem, and I'm gonna work on a background at the very end. So it makes my color first. And I like to mix an abundance of colors and just leave it on my palate until my painting is complete. So I'll just take some water, put it down to my palette, and that'll take some of this brilliant pink mix that in. Then it will come over here, make another puddle. What makes the same brilliant pink in again, trying to achieve a similar color. They'll take a little of this parallel in red, mixed that in, and then I'm gonna come over here with my purple. I'm gonna take a lot of that. And I'm gonna mix that into this bank over here, rinse my brush and take a little crimson lake. This color is very intense, but I'm just gonna still put a little just a little bit on both the pink and the purple. Here. So there I have two very nice colors for the pedals on the daisies. The center pedal seemed to be a little darker than the ones on the exterior Will start with the exterior pedals Gonna treat each pedal individually. And I'm just gonna go in there and I'm for the purposes of this demonstration would have a little pigment on my water so you can see how I'm putting a little water down on my a few of my pedals, maybe five or six pedals at a time. And all I'm doing is saturating the paper. If I wasn't demonstrating this, I would paint this with clear water, got a rinse off my brush, and I'm gonna switch to my number one brush. And now I'm gonna take some of that light pigment we made. I'm gonna try and paint over the areas that we wet on the paper. But I'm also gonna paint some areas dry that are dry on the paper. And right now I'm just going to put down a very light image here. I'm not trying to fill it in completely. I'm just trying to add some striations and some pigment to our image. Then I'll go back to my original brush, and I'm gonna wet a bunch more and again and going with to fill in approximately 3/4 of the pedal, not the tip and not the end. And I'm just doing this to create a saturated layer so that I can come back in and deposit some pigment. Now, do this with all my long pedals. This is our first layer, and I'll continue this all the way around. I'm trying to leave areas of the paper white and I like that variation. If you want to color it all in, feel free to coloring. And if you prefer that look, I just think the striations look very artistic and a little abstract. But yet because we have our pencil sketch, it's very clear what it is. So now I want to go in again with my clear brush and I'm using the tinted water just to show, and I'm gonna go in on our next layer of pedals. So I'm gonna wet all of those since there aren't too many of those and then I'm gonna come back in with that pigment, the light pigments still and go around and deposited in again, leaving the tip white and the base of the pedal white. So here we have our first layer. You can see brushstrokes in certain areas and you can see a lot of white behind each pedal . And I really like that. Look, we'll let this dry and we'll come back in and paint our second layer.
5. Daisy #1: Layer 2: So now our first layer is dry. It's kind of a subtle color. Looks really nice going here now with my number one brush, my smaller brush, and I'm gonna make sure that my purple pigment, my darker pigment that we mixed is still wet. So then I'll use my purple pigment that we've already mixed the color here. If it's dried, I'll re wet it with some water, and then I'll go in and mix the color again, adding a little more purple. Ah, little more brilliant pink and a little more of the Crimson Lake. So now that I have my brush totally saturated but not sloppy, I'll go in here and on my pedals that are closest to the center. I'm gonna create just a little bit of color at the tip, and again, I'm doing striations. This is a wet on dry technique, just making striations at the tip, pulling that color and the eye towards the center Here, rinse off my brush and I'm gonna going to make just a slightly deeper color. So I'll add more purple to this and a little more of this crimson lake. And with a very sharp point, I'm just gonna pull some of that color up from the centre and I'm leaving the center of each pedal in between the two colors that we put down leaving that dry. I really like the brush strokes and adds texture, and it creates a nice variation between all the layers that we've already established. Lastly, I'll rinse off my brush at a couple of brush fulls of water just to tone down that color just a little bit. And I'm gonna have a little Prussian blue to that as well. I added too much blue. We'll add a little more purple when I find a color that I like. I'll stop with a little bit on my brush here. I'm just gonna pull up some color some pigment from the base of the larger pedals just to the top of each pedal. So wherever the top of each pedal is is the direction I'm heading and I'm just taking a little bit of color and a little bit of texture here. I want to make sure my strokes are going up to the top, connecting an imaginary line from the base of the pedal to the top center top of each of the petals, and I'll let this layer completely dry.
6. Daisy #1: Layer 3: Now there are layers air dry. I'm gonna go in and create a little more intensity with color. So with my number six brush, I'm gonna take with remains of this light pink that we mixed and add more brilliant pink to that, I'll add a little bit of Crimson Lake. And now I'm going to switch back to my number one brush, gonna pick up this pigment, and I'm gonna pull just a little bit of color from overlapping on that purple brushstrokes that we already made on the larger pedals. I'm just adding a few of this deeper pink that we just mixed on top. And so it'll create a lot of layers between the original layer of the light pink, the purple layer that we added, and now this intense pink again. It adds texture, and it adds lots of layers and it, as well as adding an intensity of color, not going up to the top of the flower. I'm just adding a few strokes, and then I'm gonna take that same color, and I'm gonna connect the two layers that we made on our layer of pedals central to the flower here, just a few strokes just enough to coordinate our bigger pedals with these smaller pedals, and I'll let this layer completely dry
7. Daisy #1: Layer 4: So now I want to work on the stem and I want to echo a very pale color. So with my number six brush could add a little water to my palette, make a little puddle here, and I'm gonna take this deep green. I could add a little bit of oppression blue. Just a little bit of it to tone the color and then a little bit of black. So now we have a very dusty green get Adam brush full of water and then right next to it, I'm gonna take whatever pigment remains on my brush and water and try and rub that off. And I'm gonna come in here with this lighter green and blend that in to that smaller puddle that we made gonna take my small brush again. My number one brush, and I'm gonna start with my lighter color, but a pick it up on the brush and I'm gonna make striations down the length of the stem here, not using a lot of pigment or a lot of water on my brush. And as you can see the papers really absorbing that right away would come in here and take some of this darker color on my brush. And here I'm gonna add a nest in of the layer of striations again. I still have some white showing down my stem, and I'll let this layer dry.
8. Daisy #1: Layer 5: So now I'm a go and work on here on the little center of this flower here. What I'm gonna do is put down the first layer of yellow so I'm gonna take some hands yellow and mix it with a little bit of yellow Oakar And on my brush I'm just gonna dab it all the way around the center here with a series of little dabs that I'm gonna rinse my brush and I'm gonna go in here with the sepia, pull it over here to the side and with a very sharp point of my brush I'm gonna go around on the areas I'm just gonna try and hit some of these areas that I didn't add the yellow too. So the white of the paper just enough to darken it and I'm gonna leave it just like that. I want to come back in here with my darker green and work on the stem again. And this time I'm just gonna pull some striations down. I'm gonna come back in, pick up a little more this deep green, get a little bit of concentrated pigment on my brush and just on one side I'm gonna pull down some more striations. Go on, rinse off my brush. Pick up this later. Green here are a permanent green. And again I'm gonna make some striations. I'm looking for variation, not trying to blend anything at this point, The only thing I want to make sure is that I don't have a harsh line anywhere on the stem here. I don't mind a line going up and down, but I don't want either a square or a rectangle. I'm gonna let this layer dry will come back in and work on our background.
9. Daisy #1: Background: for a background. I just want to create a light pop of color emanating from this flower. So I'm taking my large brush my number eight brush and I'm just going to saturate the paper , not touching the flower but just creating like a halo around the flower I have a little area of dry paper between where I'm putting the water down and the actual flower kind of like a little moat, a reverse mode So it's gonna be dry instead of wet but it just gives me a little barrier So here I've wet my paper saturated it all the way around my focal point So I'll take a little water on my palette Gonna add a little bit of this hands a yellow and a little yellow Oakar just to warm it up. Gonna switch brushes to a smaller brush that I can control easier So I'm gonna use my number six brush and I'm gonna pick up some of this pigment And then I'm going to start here at the base echoing the shape of the stem and it's a couple of pedals and then I'm gonna come rinse my brush so that it's nice and wet and just blend that color out. I'll go back in. Echo the shape of the pedals some more, maybe six or seven or so. Dip my brush in water too, diluted a little and blend that color out further and I'll foot my paper around and I'll continue this process all the way around my daisy. Having that dry paper helps me to control the pigment. And then I went it to bleed it out and blend it so that it conforms in a little Grady int. Turn this around and continue wedding my brush blending it out, and I'll continue all the way down when I try and blend it out. I don't take my brush all the way to the area, right to the edge of where added the pigment. I just try and catch some of the area of the pigment we put down that was wet. And then I allow it to run in the water that we just added. So I'll turn this around like this, gonna take my smaller brush here, my number one brush, pick up a little pigment and just in the corners here of this halo. But a deposit just a little hint of color. It will bleed because the paper still wet underneath it. If your paper and pigment have dried, you can go in and just add a little layer of water to help that move around. And I'm gonna go just down the length the stem as well. If you echo the shape, you have a nice result. Could a rinse my brush And just that the edges here gonna help that edge move a little bit more Now, Lastly, with my number one brush, I'm gonna go in at a little more of the hands, a yellow to make it a little more intense. And I just want a deposit a little more color on the center. And there we have our completed first daisy. The next chapter will start our second daisy.
10. Daisy #2: Layer 1: for our second daisy have chosen the daisy that has a tilt to the side and we don't see the center of it. We just see the side view. It's kind of a very graceful image to start with. I want to mix my color and I'm gonna make this one an interesting one. A reddish pink but with a lot of white on the tips and throughout the pedals. So it's kind of a variegated image. So I'm taking my Crimson Lake and I'm depositing it, and I'm gonna take just a little bit of brilliant pink to that, and that makes it a little opaque, and they will make a second puddle here with a little more intense crimson lake. So I'll rinse my brush so that I have a little bit of Clearwater. And if I wasn't doing this for a demonstration, I would use this directly the clear water. But I'm just gonna use the brilliant pink here, content it a little bit so you can see the look I'm trying to achieve again. Have just a few brush falls to tent it, So I'm not concerned about it. Altering the image. Gonna go in there with my number six brush. Take some of that tinted color that we have here, and I'm gonna treat each pedal individually. And I just want to fill in the center of each pedal leading to the end but leaving a good gap of dried paper. So if you can see that on the camera, you can see quite a lot of white on the paper, and you could see exactly where I'm adding my first layer here to saturate the paper. It's a little tougher on these smaller pedals because there's not very much showing. So then I'm gonna go in with my number one brush, taking the lighter of the two colors that we mixed. And I'm just gonna go in there and pull striations up right on the water line that we already made again. It's a very subtle look, and it creates a nice first layer. I don't want to go to the tip. I just want to go to the center of the flower, and I don't want to fill in the center completely, either. By doing this, recreating lines that lead the eye up and through each of the petals, I will take a moment to go in the pedals that we only see part of and make sure that that pigment is brought right to the base. Just so it adds a little shadow. And when we have it done just like this, I'm gonna let it dry.
11. Daisy #2: Layer 2: So now that our first layer is dry, I want to work on the stem. I'm gonna leave my two colors here. My lighter, um Crimson Lake. In my deeper, more intense color with my number six brush. I'm gonna go in here and take some of this deep green, and I'm gonna take just the tiniest amount of Crimson Lake. And added to that, this will intensify the color just a little bit. Then I'll add a couple of brush fulls of water, then using the same brush. But I'm going to try and achieve a nice point on this brush. So I roll it around on my palette. My wet palette Remove some of the water. I'm just gonna go down following the length of this stem here. And then each section I'm gonna treat individually, just depositing a little bit of color. Gotta go in here and add a second layer. Gonna switch, brushes my number one brush, take a little of the deep green and intensify that color. And then I'm gonna come in here and just add a little more color on one side of the stem here. Actually making it almost look like a shadow. I still want to keep maintain white parts of the stem and I'll let this layer dry
12. Daisy #2: Layer 3: So now that are stem in our pedals air dry the first layers We're gonna go in and work on the pedals on the second layer with a really intense color. So we'll pick up some of this Crimson Lake and add it to our intense crimson lake that we have here. I'll have one brush full of water. This is my number one brush, so it's not a lot of water. I'll rinse it off because I don't want to contaminate this green just yet. And I'm gonna pick up a brush full of this green pigment and mix it in here with our Crimson Lake. This helps coordinate the entire painting. We're using the same colors over and over again in different proportions in the different features. So now, with a very sharp point, I'm going to start with my smallest pedals in the back, and it's good practices. Well, I'll start from the area here, the darkest area where there's gonna be a lot of shadows from the various pedals. I'm just pulling. It's a little bit of brushstroke forward, aiming it towards the end of the flower. The tip, the pedals of the tips of this flower fall different directions. I want to turn my painting a little bit and make sure that my arcs are following the way the petals fall instead of all being pointed towards one corner. And right now I'm just trying to create a little pigment change. Kind of like a little pop of this beautiful crimson lake. And I like to start with a smaller pedals first. By add the color there, I can see how much pigment I want to add on those bigger flowers that are the more of a focal point. So there I have my smaller pedals done. Go to go back in there and I'm gonna again continue to work graduated sizes. So I'm gonna go back here to the next smallest one that's remaining and just pull some of that color up. I don't need to go up very far on these pedals because this color is so intense, and I don't want it to distract from the beauty of this shape of a flower or the shape of each pedal. So, again, I started the base and just pull up a little bit, and I don't even have to go up that far to achieve the look of a pink pedal again. I always started the intersection and work my way up. This is another wet on dry technique. And again, I'm following the tip. These larger flowers, these larger pedals are a little more complicated because they bend and sway. We get a nice look there. Well, let this layer dry and we'll come back in a work on this stem.
13. Daisy #2: Layer 4: So now work on the stand. I just want to add a little pop of color. They're gonna take a little water on my brush and add a little of this permanent green. And as you can see, it's a much lighter color. Has a lot more yellow. I'm gonna take another brush full of our green and mix it in with this permanent green, maybe to brush falls just to tone down the color. And then I'm gonna come in here and I'm gonna do the same procedure we did on the pedals where I'm starting at the base of each layer and just pulling up a little bit of color, a little brush stroke. And then over here, I'm just gonna create long lines going down with stem. It's a very small procedure, very brief, but it warms up our painting. We'll come back and work a little bit more in these pedals
14. Daisy #2: Layer 5: now. Lastly, before we start our background, I wanted you one more layer on both the stem and the pedals that tie everything together. But it's gonna be very subtle. So with a clean brush could put a little water on my palette And I'm gonna take a little of this yellow This hands yellow. I'll take a little bit of the yellow curto Warm that up a little more hands, a yellow to offset that. And with a very sharp point on my brush, I'm just gonna pull a little bit of this yellow from the inside of these flowers And I'm not gonna do many strokes. I don't want to blend these colors. I just want to create a little warmth here. This step is optional. I think it adds another layer to our flowers. Um, and particularly this flower is a very elegant one. Some require just a little one or two brush strokes. And then I'm gonna take that same yellow, get it on my brush and just pull it down in some areas. Here the stem again. I don't want any harsh lines just looking for a little pop of color. Well, let this later dry, and then we'll come back and add a little background
15. Daisy #2: Background: for a background I just want to add a little bit of light blue pop of color Little halo so mixed my color here Just taking cerulean blue And just a little bit of this permanent green A little more surly in blue In a brushstroke of water Then I'm gonna rinse my brush And I'm gonna go around just like we did with the first flower That we did hear our first daisy And I'm just gonna paint a wet halo around the daisy This is to saturate our paper to get it ready to add our little halo Our little pop of blue again I'm leaving a little dry area between the paper and the actual image here So I'm gonna take some of that color and I'm just gonna go around echoing the shape of our daisy the way it falls Just adding a little pop of color here Gonna go up a few petals, Then I'll dip my brush in water and blend that color out. So it is a very soft edge. Turn my paper around. Continue echoing the shape here, the perimeter here or silhouette of our image and then I'll go in and blend out the color. - When I have that all done, I'll turn it over. Just make sure, though, the lines coordinate around with a fairly even border, and I'll just go up and pick a little more color and deposited on the edges. Here of this blue makes it a little more intense, creates almost like a little shadow. And because the paper is wet, it'll blend out nicely. Rinse off my brush. Just make sure the edges look nice and there we have our second daisy.
16. Daisy #3: Background: for our last painting, where we have two images on it. We're gonna start it a little differently. And instead of doing the background last, were to do the background first for these daisies. I want to paint these yellow orange so it makes a little water on my palette. Gonna add some of his hands, a yellow in a little over 1,000,000 Hugh. That's just to create a little light orange background and then next to it, I'm gonna add a little bit of just the yellow. I can see there's not a lot of contrast here. Saw mix 1/3 color with just a little more of this over 1,000,000 Hugh. And this is just for our background. It will be a quick background. I mixed in a little more that hands a yellow to tie it all together. So now I want to put water on my background and I'm gonna what? The entire paper over the flowers as well. Our focal points. I don't want it to be too wet that it runs uncontrollably and runs off the paper. But I do want the water to saturate the paper. So once I have that, I have created a border of just a little bit of dry paper, maybe 1/2 inch or so around all four edges for here. I can see have a little too much water. So we'll pick that up with a dry brush. And now, with a wet brush, I'm gonna go in here with my color here in my yellow, and I'm just gonna deposit splotches of yellow of various areas of my background. Then I'll go in there with this deeper this yellow orange and again, I'm just gonna add a few areas, maybe three of these yellow orange backgrounds. I'm not trying to fill up the paper, just trying to add a little bit of pigment. You hear it can see that my I have a lot of water on the edge Still, So with the dry brush, I'll just pick that up and I'll do the same over here. And then, lastly, I'll go in there with my orange and all those areas where I already added the yellow orange , the median color that we mixed. I'm gonna put little splotches of this orange. It's a very subtle look. I'm avoiding painting directly on the flowers. But if it runs onto the flour. It's not a problem. Gonna go in there with a little less cerulean blue on my palate with some water and once again, a very light color. Take a little bit of Prussian blue with that, just for some variation one more brushstroke of water to really lighten it. And then I'm gonna go up and deposit color in the background. Just like this. I'm avoiding the plants again. I'm avoiding our images again. But I am creating a light background there. No harsh edges. So everything is gonna blend and bleed and kind of make its way very gently through our image. And again, I like this background technique technique. It's very subtle. I'll go in there with a wet brush, pick up some of that yellow, and I'm just gonna lightly go over our flowers, particularly the pedals. I'll pick up some of this yellow orange deposited once again in the areas where we added the most pigment of orange. And then I'm gonna go back in with a little more of a really in hue on my brush and deposit that over there as well, trying to echo some of the shapes that we have in these flowers roughly the bent over flower, the flower looking up and the shape we have here. And I'm gonna let this layer completely dry.
17. Daisy #3: Layer 1: So now my paper is dry. I want to go in and start with stems. Could put a little water on my palette, mix a little of this deep green and take a little bit of peril in red to that at a little more green. And then it wouldn't do a wet on wet technique. So with my number six brush with a sharp point, I'm gonna wet the entire area of the stem and the base here of these. And I'm gonna go in there with a sharp point and just drop in some color not trying to get the entire stem, Um, white green. But I do want to add pigment to a lot of it again. I want a painterly look do the same thing on this stem, so I'll go in and wet it, and then I'm gonna drop in some pigment. And this is for the wet on wet technique, and the pigment runs gonna come in here with some of this permanent green, and I'm going to drop some of that just throughout our stem in the base here. This gives us a nice first layer. Well, let this layer completely dry.
18. Daisy #3: Layer 2: you know that our stems or dry I want to go in there and start with my pedals Gonna take my number six brush again and take this hands a yellow and just a little bit of this yellow Oakar toe Warm it up with it on the dry paper I'm gonna take a nice pointy brush And I'm just gonna go from the base of the pedals and pull it up About 3/4 of the pedals Turn my paper over So it's easier for me. I'm just pulling that color down and up all the way 3/4 to the top. Maybe a little bit 7/8 or so And I'll go through all of my pedals on this one. Daisy. So there I have a lot of white showing, but I have my yellow nicely done. Gonna start here, grab a little more of this hands yellow and a little more yellow Oakar. And for this daisy, I'll do the same procedure. But this time gonna start at the top and just pull it down. And I'm not worrying about getting the base. I'm getting that color pigment all the way to the base. I just want to get that pigment mostly 2/3 of the way on each pedal, and I'm really focusing on the top of the pedal. Pull that color down and we'll let this layer completely dry.
19. Daisy #3: Layer 3: So now that my layer of yellow petals have dried, I'm gonna go in there and and our second layer gonna mix my color here, So right on my palette. I'm gonna take some of this vermillion, Hugh, and I'm gonna make some yellow orange. And with that, you just mix hands a yellow or your yellow if you have it and then next to it, I'm gonna create a deeper concentrated color of the orange. So I had a little handsy yellow or a little yellow orange to both. So now I'll take that, and I'm gonna treat each pedal pedal individually. But start with this bent flower and then we actually to switch to my number one brush for this flower. Take that color and the pole right from the center, the base of center. We'll do this on oh, maybe five or six of these. Then I'll go in there with the deeper color and just pull that color Oppa's. Well, I don't want to go the full length that we added with the first layer of orange. Just the base gonna switch here to my lighter of the orange colors. Pull that up a little more than 1/2. Finished with that with the remaining pedals. Then I'm gonna go in there with that deeper orange and right from the base. Pull that up. Not trying to cover everything we did with the first layer of, um, medium orange just like that, and we'll let this layer dry.
20. Daisy #3: Layer 4: So now for our second flower, I went in there and I want to add a little more of a 1,000,000 hue to each of our pigments . And I just took a dry cloth to create a bridge between both so that the colors didn't blend on my palette. I'll take a little of this yellow orange, mix it in to get a lighter color. So to brush fulls of that on this one and then just a little more Vermillion, who on this gotta stick with my number six brush for this flower? Pick up some of this lighter orange and I want to start in the center and pulled down to the base, and I still want that yellow showing what's let's make sure it's continue with the lighter of the orange, and I'm dragging that color right to the center because I'm using a bigger brush and I have a lot more wetness and a lot more pigment on my pedals. Here, do a few more than I normally would with a smaller brush. I know they'll stay weather longer, and I want to make sure I drag that pigment right to the base of each of these pedals. Then I'm gonna go in there with my deeper orange color and just deposit some of the base with that color. Run a little bit of a ways up that those pedals. Then I'll switch to my number one brush. Take that lighter of the orange we did, and I just want to start at the base of each of these inner layers of petals, trying not to connect them all. So leaving a little white in between each pedal and bringing the color up about halfway a beach pedal. Then I'll go in there with the deeper color and just deposited at the base, and I'll let this layer completely dry.
21. Daisy #3: Layer 5: So now I want to work on this flower in these pedals and just add one more layer. So I'm gonna put a little over 1,000,000 Hugh on my palette. Nice, intense color, and I'll mix a little parallel in red with that. So now it's even more red. Take a little more Vermillion shoot of that with a sharp point of my brush to turn my piece around. And I'm just gonna take a very sharp point and just pull a little bit of color just up about 1/3 of the way up. And it's not filling up the pedal, but it's just pulling a little bit of color. It's a combination, really, of the procedures we did on the first and the second flower. So I'm just pulling that forward little hint of color again. You can see a nice bit of yellow, a nice bit of orange and a nice bit of this red color. Lastly, I'm rinsing off my brush. I want to go in here with this yellow, so I'm gonna re wet it at a little more of the hands of yellow and a little of the yellow Oakar of the very sharp point working on that same pedal in the same flower. I just want to create a little bit of edge to each of these pedals, and I'm kind of pulling the color down just a tad echoing shape. I'll go back in, pull a little bit of that yellow from the center, where I'm just overlapping with the orange, not the wet color we just put down. And that's our first. The pedals on our first flower. We'll let this dry. We'll come back and work on our second flower.
22. Daisy #3: Layer 6: So now I want to take some of that yellow that we had here of the base color. And I want to go over and just pull that color from these center pedals again, leaving white. But I don't want to leave just white. I wanted to be orange, yellow, and then the white just like that. I'm also gonna take that yellow and just dab it on the center of that flower, and that will dry, and we'll use that in the future. So now I'm gonna take my red here that we used for this part here. So the parallel in red in a little over 1,000,000 Hugh. So now we have a really intense color again. I'm gonna make a sharp point on my brush, and I'm going to start at the base of the pedals and just pull that color up. And when I pull it up this time, I'm going over. Most of the orange that we've put down will just be a little hint of that peeking through. And so why the flower on the left is the underside of our daisy. This is gonna be the actual center of it. So it's gonna be a little more pigmented, and I don't want to make it look universal and uniform in one color. But I do want there to be more of this red. Then there is on this one. So again I go down. I started the base of each pedal and pull up. And as you can see, there's only a little bit of that orange peeking through just enough to know it's there, but not enough to be a dominant color again. I continue with the base of these pedals pulling up following the shape. Then I go to the same thing with that inner layer of pedals just like this. Except I want more of that orange layer to be showing through. So again, I pull my color out to the edge, following the shape of each pedal, and I'm gonna rinse my brush and go back in here with this orange. This vermillion, Hugh. And I'm just gonna pull a little bit of color out from the center, overlapping the existing orange, the red we just put down and dragging it to the end of that yellow. Just like this. Only doing this on the larger pedals for now, and we'll let this layer dry
23. Daisy 3: Layer 7: So now with my number one brush, I want to go in. Just do a little work on the stem here. Gonna re wet that permanent green at a little bit more to it. I'm just gonna pull it down in certain areas, just like this. Now on this went on here on the left. We've got different layers, so I'm gonna treat each layer individually. Just add a little more color there. Got a rinse, my brush. And with my son that takes him sepia, make a little puddle of it on my palette. With a very sharp point. I'm gonna go in and just dab little dabs here around the edge. Don't come in here in the center as well. That would take a little black my palate. Mix it with some of that sepia and just add a few dabs here and there. So we have a bunch of layers showing in the center of this flower. Well, let this layer dry will come back and have one touch to the background.
24. Daisy #3: Layer 8: So now our flowers air dry. And even though we did a nice, very subtle background, I just want to go in and create a teeny bit of a halo around each of these flowers. So again, same procedure. I'm just wedding around each of the flowers just to saturate my paper. Do this around both. And then while I have my big brush, I'll put a little puddle of water on my paper at a little this cerulean blue, little Prussian blue as well and a big brush stroke of water. I'm gonna switch to my number six brush and I'll start here with the one on the left just because I'm right handed and I'm gonna create a nice thick edge here, go up a few pedals. Then I'll rinse my brush and blend that color out again. I'll blended out at the base as well. Turn my painting around, create that nice, thick edge and blend that out. I just want a little more intensity right by. My actual image here creates a little bit of a shadow and a little focal point. I don't want to disrupt the little bursts of color we have in the background. I want them to look like their flowers out of focus, or at least hint at that and go around. I add my blue, and then I just add a little water to blend it out. Do the same thing on this plant. This flower. I had the blue down the sides and then blended out the wet brush. I blend out the edges so there's no harsh edges. Just a little more intensity of color right by our image. Flip this over, continue with it and continue with it on this side. So here for the background we started with wet on wet. Then we built up our image, and now we're just going back and adding more wet on wet to create a little more intensity and draw the eye to our image. I could go back in with a smaller brush, a little more pigment and just drop in some color, rated the edges here, and then any areas that didn't blend out. I'll just adding a little water and continue to blend those out. And there we have our third image
25. Class Wrap Up: So here we have our images from class. We started out with our template where we selected the daisies we wanted to paint and I demonstrated three techniques. And then we painted our portrait, our profile. And then we combined two images using her template again. We use bold and beautiful colors on all three of them and came out with the very different looks I want to show you a variation that I did. And again I took three of the images from the template. I overlapped two of them. And then I went to work painting using all the techniques from class. Today, I hope youll try your hand at painting one of these Gerber daisies and poster working the project section. Please be sure to follow me here on skill share to get notified of future classes. Please consider leaving a review and thank you for taking the time to join me today.
26. Bonus Class: So here's a bonus class of a painting that I did that took about 20 minutes or so and I condensed it down to 2.5 minutes. I use the same procedures from class where I wet the background of the paper, and then I deposited very subtle light washes of color, and I chose the colors based on the colors that I wanted my final painting to be. So I did a lot of purples. What you could see here in the background is I wanted to make, like a very subtle of focus background, as if there were more flowers in the background, so I didn't have to worry about details. But I did put in a little bit of color, little green stems and some purple splotches to be the blossoms. When I got to work, painting the actual pedals of the flowers and focus, I just did lots of layers, and I started out with my color my purple that I mixed with blues and purples. And then I gradually built up the color, and by the time one was dry, I went and started adding a second layer to the others, and so the colors that I built up I did with a wet on dry techniques. So the pedals were dry. I added my layers, and then I just continued to add immense and intense color throughout the process. This left me with a bunch of different brush strokes, a lot of texture and different colors that looked brighter and light and and had more shadow and more reflection. So it was kind of a fun technique. It just took time to develop. So if I was to stop here, I wouldn't consider the work finished, and I wouldn't really consider it attractive. But because I kept going and building up the layers, I got the look that I was hoping to achieve. I gradually started adding different pigments as well, so that the colors weren't in uniform. They weren't all purple. I added a very light purple or even a pink here to give the effect of light shining through the pedals as well as the variation in the colors. And then I did the same thing with stems, where I added lighter green and then darker green because I want to be image to look a little painterly, a little messy. I added some spatter, and then I went back into the centers and added different texture in different colors without as well, I added, and enhance the background a little further with more stems and more splotches just slightly just to make them a little more interesting, added a little blue from the sky. And then I left the paper dry when it was all dry, went in with a white gel pen, and I added some highlights and some elements. I specifically went around to the pedals and added little striations on them to look like they were there folds and the pedals, and here we have our finished results.