Fundamentals of Flowers in Watercolor
Star Magnolia buds and blossoms on cold press 90 lbs. watercolor paper. Example of a looser "wet into wet" technique
Summer Peonies on hot press 90 lbs. watercolor paper Example of "tighter" layered wash technique with dry brush details.
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Welcome to Fundamentals of Flowers in Watercolor
Beginner and experienced artists can celebrate the beauty and color of spring during through this online art workshop. Painting flowers is one of the best ways I know to develop your eye for color and value as they work together to define form. Suggested Materials List: Watercolor Pad/Paper 9”x 12” 2H pencil water soluble wash pencils (optional) 1 small pocket pencil sharpener 1 “pink pearl” or similar type eraser Watercolor brushes Basic Tube Watercolors 1-2 small ceramic or glass jars for water and mixing washes (repurposed jam jars are excellent for this) Not Experienced buying art supplies? No worries, I recommend ordering these from Jerry's Artarama: https://www.jerrysartarama.com/ These two kits will have everything you need and more. (pictured below) 1 set Koi Watercolor Travel Value Set -079483B000000 $49.99 (this includes a small sketchbook that will be perfect for getting started as well as brushes!) 1 set Prismacolor Tin Graphite Set Of 18-0073804000000 $18.99 
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Georgia O'Keeffe On flowers:
“When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not.”
All of the references and examples from the workshop I have prepared for you here for your future review and use. This will allow you to listen and enjoy painting along during the workshop without having to worry about taking notes.
A few pointers before we get started:
1. Think specifically about the artistic elements of color, value, form, and space when painting flowers.
2. Review basic color theory, see reference sheet below to refresh your memory.
3. Remember these color theory "formulas":
hue=color
hue + opposite hue=shade (a darker value of the hue)
hue + white= tint (a lighter value of the hue)
4. Don't sweat the small stuff! No, you don't have to paint every little detail!
5. Good drawing skill is the foundation for artistic success! Check out my drawing basics below, in the meantime, use the tracing templates or trace your own printed photos to practice your painting. This is all demonstrated in the short video below.
6. Use a full range of values to establish a visual hierarchy of line in creating the illusion of space and dimensionality as well as emphasis. Remember the human eye tends to look at dark and bold first and perceives those things as closer in space.
7. Seek to create balance in your subject's structure as well as in solid (positive space) and void (negative space). Balance is important too in value. See the worksheet on composition basics to help.
8. Relax and enjoy your practice! The terrific thing about flowers is that they are everywhere. Look out your window and sketch, take pictures of beautiful flowers you would like to paint for reference on a rainy day...the more you paint the more you will see and the better you will draw!
9. Establish an "art practice." Try to find a regular time and space for you to create. Consider finding an "art buddy." For more ideas, check out my Blog Post on this website from June 2018
10. Go to museums, art shows, online exhibits (museums put most of their past exhibits online). Read art books on artists and works you love. Keep looking. Keep asking Why? Keep asking how? This will help you to keep learning, sharpen your eye, and hone your skills with your hands!
Recommended text for your studio bookshelf:
How to Paint Wildflowers by Keith West
The Flower Painter’s Pocket Palette by Elisabeth Harden
“When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not.”
All of the references and examples from the workshop I have prepared for you here for your future review and use. This will allow you to listen and enjoy painting along during the workshop without having to worry about taking notes.
A few pointers before we get started:
1. Think specifically about the artistic elements of color, value, form, and space when painting flowers.
2. Review basic color theory, see reference sheet below to refresh your memory.
3. Remember these color theory "formulas":
hue=color
hue + opposite hue=shade (a darker value of the hue)
hue + white= tint (a lighter value of the hue)
4. Don't sweat the small stuff! No, you don't have to paint every little detail!
5. Good drawing skill is the foundation for artistic success! Check out my drawing basics below, in the meantime, use the tracing templates or trace your own printed photos to practice your painting. This is all demonstrated in the short video below.
6. Use a full range of values to establish a visual hierarchy of line in creating the illusion of space and dimensionality as well as emphasis. Remember the human eye tends to look at dark and bold first and perceives those things as closer in space.
7. Seek to create balance in your subject's structure as well as in solid (positive space) and void (negative space). Balance is important too in value. See the worksheet on composition basics to help.
8. Relax and enjoy your practice! The terrific thing about flowers is that they are everywhere. Look out your window and sketch, take pictures of beautiful flowers you would like to paint for reference on a rainy day...the more you paint the more you will see and the better you will draw!
9. Establish an "art practice." Try to find a regular time and space for you to create. Consider finding an "art buddy." For more ideas, check out my Blog Post on this website from June 2018
10. Go to museums, art shows, online exhibits (museums put most of their past exhibits online). Read art books on artists and works you love. Keep looking. Keep asking Why? Keep asking how? This will help you to keep learning, sharpen your eye, and hone your skills with your hands!
Recommended text for your studio bookshelf:
How to Paint Wildflowers by Keith West
The Flower Painter’s Pocket Palette by Elisabeth Harden
Reference Sheets
Getting Prepared to Paint: A Short Video
Printable Flower Templates You May Trace for Painting
Vinca
| vincatemplate.pdf |
Rose Mallow
| rosemallowtemplate.pdf |
Crocus
| crocustemplate.pdf |
Reference Pictures for Templates Above, from Wikipedia
Step-by-Step Painting Gallery for Rose Mallow
Step-by-Step Painting Image Gallery in Detail for Vinca
Try This Project on Your Own: The Progressive Bulb Painting
One of my favorite winter painting projects is to force bulbs inside and draw and paint them every day or so. Watching and recording the changes in form, color, line, and texture I find really is an artistic sensory "tune up." You can use any sketchbook, or even a watercolor postcard block, but I am most fond of the Japanese album style sketchbook as seen here below.
Want to Continue Your Painting Practice? Try Fruit!
Botanical Drawing 101
Let's get started with simple flowers like the vinca.
Referenced Videos
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Image Gallery
Class Video: recorded 2020
Drawing Winter Trees
Getting Started and Tree Anatomy for the Artist
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Welcome to Drawing Winter Trees! Drawing trees is one of the best ways I know of as an artist to build your eye for proportion, and detail. It also helps you to "see" your subject in 3-D in your mind and translate that understanding of the relationship parts into your drawing creating more believable and livelier works. The image on the left is a worksheet of notes I have prepared for your review and use. This will allow you to listen and enjoy drawing along during the workshop without having to worry about taking notes. A few pointers before we get started: 1. Thinking specifically about the artistic elements of line, value, space, and texture when drawing trees. 2. Don't sweat the small stuff! No, you don't have to draw every leaf! Learn to draw what you see not what you know and always work from the largest elements to the smaller elements. 3. Use a full range of values and a hierarchy of line in creating the illusion of space and dimensionality as well as emphasis. Remember the human eye tends to look at dark and bold first and perceives those things as closer in space. 4. Seek to create balance in your subject's structure as well as in solid (positive space) and void (negative space). Balance is important too in value as well as the weight of lines. 5. Relax and enjoy your practice! The terrific thing about trees is that they are everywhere. Look out your window and sketch, take pictures of beautiful trees you would like to draw for reference on a rainy day...the more you draw the more you will see and the better you will draw! Suggested Materials List: Drawing Pad/Paper 9”x 12” or larger for both wet and dry media 2H pencil 4B pencil Paper tortillion / stump for blending 1 small pocket pencil sharpener 1 kneaded eraser 1 “pink pearl” or similar type eraser Watercolor brushes Small bottle (4 oz.) India ink 3-4 small ceramic or glass jars for water and mixing washes (repurposed jam jars are excellent for this) Recommended text for your studio bookshelf: The Artistic Anatomy of Trees by Rex Vicat Cole Any Book by Arthur Guptill specifically: Free Hand Drawing Self-Taught Drawing and Sketching in Pencil Rendering in Pen and Ink Sketching as a Hobby |
Master Drawing Reference Gallery
Study the way accomplished artists of the past create composition when drawing a tree. Notice the balance they create by juxtaposing solid (positive space) and void (negative space). Notice too how often voids that are shaped from branches or the trunks of trees are often points of interest. Experienced artists always create a rhythm of dark and light values to help create the illusion of space and keep the viewer's eye moving around the composition, as well as placing very dark and very light values next to each other to create emphasis. Notice that you tend to look at those things which have more detail and more contrast first and longer than those parts of the picture that are less detailed and lighter and closer in value. Use these strategies in your own sketches.
When drawing a tree try to see the big shapes, values, and general patterns/textures. Try not to get catch up in drawing every little nook and cranny or every leaf. Remember less is more and it will help you avoid fussiness and becoming overwhelmed. Decide from the beginning what your drawing is about: one specific part of the tree: e.g. a particular branch, a cavity in the trunk; or is it about the entire tree.
Pay close attention to the tree's posture and how it grows. If possible walk all around the tree and look carefully up and down the trunck both up close and from a distance. Take in as much three dimensional observational details as you can. This will greatly inform your drawing. As you observe, asking yourself questions. If it is leaning ask yourself: how is it balancing itself? Do the branches alternate or grow equally and opposite each other? Does the tree remind you of anything? If you are planning to work from photos, take pictures of your subject in the round, as well as up close details and from a distance to get the entire tree.
When drawing a tree try to see the big shapes, values, and general patterns/textures. Try not to get catch up in drawing every little nook and cranny or every leaf. Remember less is more and it will help you avoid fussiness and becoming overwhelmed. Decide from the beginning what your drawing is about: one specific part of the tree: e.g. a particular branch, a cavity in the trunk; or is it about the entire tree.
Pay close attention to the tree's posture and how it grows. If possible walk all around the tree and look carefully up and down the trunck both up close and from a distance. Take in as much three dimensional observational details as you can. This will greatly inform your drawing. As you observe, asking yourself questions. If it is leaning ask yourself: how is it balancing itself? Do the branches alternate or grow equally and opposite each other? Does the tree remind you of anything? If you are planning to work from photos, take pictures of your subject in the round, as well as up close details and from a distance to get the entire tree.
Drawing a Tree Step by Step in Pencil: Progressive Images from the Workshop
Reference Images of Catalpa Tree
Step by Step Tree Drawing
Trees in Ink
Ink can be an intimidating medium to get started with. I am always amazed by the Asian Painting tradition with sumi ink where the artist simply dives into sketching with black ink on to pristine white rice paper. It is true that practice truly helps increase not only your skill with a medium, but your comfort. What help me to become more comfortable with ink was the use of an under drawing.
Black Walnut Ink and Stained Papers
Botanical Drawing with Colored Pencil
Image Gallery
One of the greatest compliments a teacher can receive is to witness their students' success and watch them inspire others!
This text contains the work of five of my former students all of whom received their Certificate in Botanical Art and Illustration Program at the Corcoran College of Art + Design.
It's been my privilege and honor to teach at the United States Botanic Gardens and in this program for the last twenty years.
Geometry and Plants
History of Botanical Illustration
History of the Houseplant
Fundamentals of Garden Design
Foundations of Garden Design Throughout History and a History of Gardens
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An Example of A "Cottage" Garden Design
Below is a gallery of student samples. All students were new to using architectural scale and drafting conventions. These are works in progress. Please forgive some of the shadows!
