3 Easy Beginner Christmas Cards in Acrylics | Charlotte Jordan | Skillshare

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3 Easy Beginner Christmas Cards in Acrylics

teacher avatar Charlotte Jordan, Artist | Entrepreneur | Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (53m)
    • 1. Introduction 1

      1:02
    • 2. Supplies

      3:28
    • 3. Card 1: Background & Branches

      9:17
    • 4. Card 1: Berries & Snow

      9:03
    • 5. Card 2: Background & Branches

      4:39
    • 6. Card 2: Pine & Berries

      8:14
    • 7. Card 3: Background

      2:44
    • 8. Card 3: Pine, Snow & Pinecones

      8:21
    • 9. Envelopes

      4:02
    • 10. After Thought

      1:49
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About This Class

If you need to make a quick Christmas card for a friend or family member, then here are 3 really easy and fast cards to paint for the holidays. Each card class will be split into two lessons so it's super easy to follow along with the painting process. I will break down the steps showing you exactly how to make these designs for Xmas!

I hope you have fun with the class and learn something new! If you want to refresh your memory with the basics of acrylics, then check out my acrylic basics class before you tackle this.

Meet Your Teacher

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Charlotte Jordan

Artist | Entrepreneur | Teacher

Teacher


 

Charlotte Jordan is a Florida-based artist from England and an animal enthusiast. In her courses, she will teach a range of artistic skills that she has honed over the years as well as ways to market your pieces.

Her work explores the surreal and the beautiful. The animals she paints are often brought to life with her unique style and perception of the natural world. Felines are one of her favorite creatures to paint, but she loves to experiment and challenge herself and teach and inspire others to use their creativity.



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Transcripts

1. Introduction 1: Hi, my name is Charlotte Jordan. I am a self-taught surreal animal artist based in Florida. So we're coming into the holiday season and it will be Christmas same. So I think that I would do so really easy, simple Christmas card designs for the holidays, for your family or friends, especially if it's a last minute thing as well, then these will be really easy to complete before Christmas hits, there's, this is my favorite holiday of the year. It gives me so many great feelings. It's such a warm holiday despite it being in winter. So I have to have fun. And I hope you enjoy this class and let's just get straight into it. 2. Supplies: So I'm going to quickly run through the supplies for this clause. Here you can see I have my three cost I'm going to be working on for the actual code itself on actually using acrylic paper. I just cut it to size. And I actually found some spare envelopes that I had lying around. So I basically cut this acrylic paper to size to fit. And I also made sure that they fit smuggling in there in which the individual little envelopes. So again, you just want to make sure that you have fit these hogs into the envelopes comfortably so that they are properly fitted and fit nicely in that, etc, etc. Also, because this is an acrylic class, you're gonna be needing some acrylic paint to the music of variety of colors. I've got some yellow, ochre, Brown's, greens, blues, reds, and then obviously your staple, black and white. And then I do have a spray bottle here just filled WHO regular water just because I like to keep my palate wet as well as sometimes the paper or the acrylic paint might dry out if I still need to work with it. I also do have a small bottle of glazing medium or side. I'm not sure if we're going to be meeting this or not, but I just haven't incase. We're also going to be leaving some kind of masking or washy taped to take down our cards are so we have nice clean edges and nice thin borders to ask, well, obviously, you're gonna want some water, some paper towel. And then for the paint palette recently cleaned, it hurts a bit scrappy looking. And then for our brushes, I've got a variety of brushes. Again, use whatever you have. You may not have specific brushes that I have to solve it improvised. Whatever you're comfortable with. Hey, I've got a large, flat angular brush. This is great for covering larger spaces such as backgrounds. So that's what that is there for. I have this sort of circular, flat tips and angled brush. This is really great for creating snow. It has that stippling effect at the end that creates nice clumps of snow. I have my trusty break brushes, of course, these I love to use for more detail effects, wispy effects that we can use with the pine needles and setbacks. And then of course, a smaller angle brush as well as a detail brush just to get into those places and to create some solid lines with. So I think that is the basics of this sapply class here. Just whatever you have at home. Again, if you feel like you're using a different medium for this, for example, water color, then you will need some different supplies obviously. And you will need to apply some slightly different techniques. And obviously with watercolors, for example, you'd want to sketch out your designs way before you even start painting. But because I'm using acrylics, I can just go ahead and layer things on top of each other. So let's get straight into the class system. 3. Card 1: Background & Branches: Okay, so for this first class, when you work in on the first card here, I'm gonna go ahead and get my masking tape and start to take down the edges of the card, making sure they're nice and straight. And keeping a really thin border from compulsively habit. So do keep that in mind when you're taping down your cards. Doesn't have to be absolutely perfect because again, handmade cards are not perfect. They are handmade. You can choose to completely flatten out the card or you can just do what I'm doing and put it on top of the folded card. Really doesn't matter. Just need to create a nice thin border for Archaea. Great thing about masking tape like this is that you can actually reuse it. So when we are done reusing or painting are actual card, we can actually peel this tape off and reuse it for the next one, which is probably what I will do. It's actually a great tip for saving. Instead of wasting masking tape, my hate way skin masking tape as a good tip there. Just keep a hold of it scrunched up when you're done. And we can start. So for this particular car, I'm gonna do a berry with some snow. So I'm going to have some berries coming up from the side of the going around the cart a little bit with some snow clumps on. And for this I am should want a nice grayish, bluish tone background like there's winter snow. Signing me using my blew, my white, add a tiny bit of my black background because I want to give it a hint of that demolish blue gray color. My little bit of blue in there. But I'm white. I'm actually gonna put two little dollops of white on hair so we can have some variation in our backgrounds as well. And I'll do the same for black. Black and a separate area so that I can gradually mix it in. I can see how doc it's gonna go. It's gonna use my wide angle brush is great for covering large spaces mixed together so you can get off bluish, whitish color. Some of my paint is a little thicker than others that might need a little bit more time mixing. So here we have a nice pale blue color. Unless you're gonna take a tiny bit of black and mix that in. And you see it's going to make this bluish, grayish color. And this is fine. So what we're gonna do is I'm going to have my darkest area, probably in this corner here, in this corner where the barriers may be coming up. I'm going to start by painting this song. Now I do find that working on acrylic paper can be a little bit absorbent some time C may find your paint dry. Foster, don't worry about that, but a pick up a tiny bit of black. I'm going to start to mix that in. Same up top. Oh, about subtlety for backgrounds. And I'm actually going to pick up some whites. Kind of stuck to mix that with at this side of the COD. Anymore Black places you want to add, just bring it in and stop mixing it up while the paint is still wet on the actual paper. Cup. No blue feet to be afraid to have it looking a little streaky right now up at a fine. Now there's several different ways that we can go about doing this background. I actually want to have it quite smooth blend. So I'm actually gonna go get another brush. My she going to be using another brush for the background as well. You can use either a MAC brush or something very similar to it. And makeup brush either use your makeup brushes anymore. Also work perfectly well. You also get this sort of brush in watercolor. And what I'm going to be doing is very, very lightly, very light touch to the canvas or the acrylic paper. And just going to stop going in circular motions and blending all these colors together. Now with acrylic paper, it does take a little bit longer to blend because it's textured paper. Say may want to keep your paints wet by spring. A little bit of moshe. Just a little bit though. You don't want it too wet, otherwise you're going to get a streakiness, smokes and mines, et cetera. That is your smoothed out background. Now, neither completely wash this brush out because you want to keep it soft and fluffy. Just keep it in water for the time being, so it doesn't drive with any of that stuff. And it's very important to keep your brushes soft and longevity of them as well. So you may want to let this dry before you move on to anything else. However it you don't really have to. It's not that important. If the background picks up a few little colors from the paint's, we're gonna move on to going to be taking my burnt umber Brown as well as a little bit of the black and possibly some yellow ochre to create the branches. Now, now the brush I'm gonna be using or starting out with is the smaller angle brushes got nice black edge and it's also got an ice point as well. So you can really get some smaller detailed branches in that. We're actually gonna start by mixing a little bit of black and with my burn on, but to give it a darker wood. Because burnt umber can look a little bit sort of flattened, unrealistic when it comes to branches. So I'm just going to mix that up a little bit. All my Avar yellow in there. Just adapt. What we're gonna do is flatten out your brush. I use the side of my palette to do this. I'm going to start in the corner using the angle pointing down and basically drag it up again. You want to keep a light touch. And just saw should do really thin lines here. And you can always go back over these. Again. If your background is still wet, you can see some of that pigment or that paint get picked up a little bit and show through. Don't worry about that too much. Maybe you can just start to really loosely met the bronchus. Really light to get that center, look to your branches as well. Keep your pressure light, not too hard. If you want to thicken your branches, then push a little harder on the actual Brush itself. And just kind of be really loose about it. Let the bronchi kind of create some really unique looking lines. And this will add four more realistic effect to the actual branch. And I'm leaving this area MT here so that we can go back in later on and write a particular phrase like Merry Christmas, Happy Holidays or whatever you celebrate. I'm gonna go ahead and add in a little bit more black to white brown. I'm actually going to switch to a different call, my palate, fair, so that my doc around going. I'm going to start deep and harps and these lines, again, you may want to wait until this dries before you do this because it will lay down those colors much better. And if you want to switch over to a detail brush to get those really thin lines and struggling with the angle brush, then by all means, like I said, it certainly too much attention to the branches as long as they look somewhat natural and little more random, which helps to make to look, then you should be fine for them. And that's what we're really going to do for the bronchus for now, we will come back with a few minor highlights just later on once we've done the berries and thats. 4. Card 1: Berries & Snow: For the berries, I'm actually going to be using this crimson red hair squeeze somehow ends my palate. The master can be washing out my angle brush and me using the same brush as before, picking up some of that red. And what I'm really doing is taking the pointed end of the angle brush and facing it down towards the paper. And I wanna start to blot on some of those berries. And you're going to want to make some clusters of berries as well. Keep it fairly random. Have the old Berry here and they have a little bit of variation in the size of the blobs as well. So that berries, I'm gonna just scrape off any excess paint, race fat. Now I'm going to wait for this layer to dry because I want these to be dry when we do our snow, which was going to be the next thing. We're not gonna do any detailing to the actual berries adjusted IAC. We're going to want to wait until the snow is on top of the barriers. That, that way we can go in and see where we want our highlights and shadows and any other little details like that. So wait for this to dry completely before we move on. Alright, so now our snow has dry. I'm swishing over this sort of stippled angled brush right here. And what we're doing is taking some white that's already on my palette. I'm actually going to be tackling some of it off in another little space that we're gonna be creating some clumps of snow. And I won't these clumps of snow to be quite thick in certain areas and then in others. And I'm just really gently tapping it on, kind of trying to follow the line of the berries, the line of the trees a little bit. Just being really light with some events. They still want some of those barriers to share through. So I am being careful to allow that red shirt through. Still. Miss big Colombo along this branch. That these up here. Because it is a rounded brush, it should give that fluffy effect naturally. Anyway. Like I said, we're not going to worry too much about branches because as you can see a little for like getting covered by snow. And there's many ways. And go out and painting snow. You can do it in two layers, making the first layer of snow a little bit muddy with like a blue. It reflects the colors around us. Typically white will reflect its environment. It's about sort of the idea behind that. And then you could put a bright white on top to really finish off the snowy effect. But we're just going straight in with the swam with some pure white. Just to give that snap back. Now we're not done at all from this. Who still go a little bit of work to do on our berries and our branches itself. So I'm gonna switch back to my angle brush that we used for the berries. And I'm actually going to get some of this rat. And I'm going to mix it with a little bit of white. So it creates this pinkish term for highlights on our Barry's. I'm also gonna do the exact same, getting some red. And I'm going to be taking some black this time and creating a dark red for my berries shadow. I'm going to start with a dark red again, you can choose to be the highlights. You want to think about how you want to shade your berries. We're gonna pick one side of each individual Barry and just add a little blog. Dark red to it. Don't worry if it seems like it covers it up first because we are going to be going back over berries with different colors of breads, different shades. Just to give up berries, a low light. They don't look so flat. Washing out like Scratch. And switching over to that pinkish color for my highlight terms and doing the opposite side of the barrier. So now they might be looking a little bit dole color wise. So what we're gonna do is they're going to switch back to our crimson color again. And then using the tip of the angle brush, just adding back in that red right in the center of the berries so that we still see some of that doc and might value on them. Really, really light touch don't need that much pain told them to. Just, just so that is a bit more color back into those berries, right? In between the values. You can also use a detailed brush if you want more control over your paint. And then what I'm gonna do as a final thing to my berries is switch over to my detail brush, go in with that pure Weiss again and add in a little streak to the most prominent berries. So they really look shiny and that the standing out, picking a few out camp that really stand out the most. All right, and now we've done that. The final thing I want to do to this particular cod, washing out my detail brush and switching back to that brownish color can use dark brown or the lighter brown depending on what you prefer. And we're going to add a few tendrils sticking out from the snow clumps. This always adds more of a 3d effect to your snow. So I'd really recommend doing this. And if you want to add any highlights trio branches, this is when I recommend doing it. I would be mixing a little bit of that yellow okra in with some white to make a really, really paled down Yellow even mixing with a little bit of brown to give it a Medea kala can add some highlights to the actual branches themselves. They're going to need this in a few select places because most of our branches are going to be covered by snow and barriers. We do any writing on it. You gotta want to let it completely dry first. This time, we can actually peel away the masking tape here. Save your masking tape if you are doing more than one card because I hate to be wasteful. And it's just so useful you can get more than one. Use out of your masking tapes will be using that in the next class. Just because it is less wasteful. I think this is a really simple way to do. Some berries on branches are covered up with some snow. You can either use pens, pencils, or some kind of marker if you prefer to use that full rising. That is what I will be using, probably a marker. And that is the first card. 5. Card 2: Background & Branches: All right. So I've gone ahead and moved on and taped up my next card using the tape from the previous clause because again, you can get multiple uses out about. And for this cough, we're still going to be using the barry theme Hicks and we're going to be introducing some pine and a couple of other different color palettes. This, I'm mainly going to be using my yellows, reds, greens, and of course a little bit of brown and the black and white. So no blue necessary. So again, taking my large brush and my launch angle brush, make sure it's washed out from the paints. You're my large angle brush here. I'm actually going to be doing a pale yellow background. So I will be taking some of my yellow ochre and mixing that in with some white and make it a bit more white. And my palette here. And make a nice pale yellow color. Background. Could mix. I'm an overlay this song quite thick here. Stop painting. I am deeply up the edges with a more straight off yellow pigment. So you have a nice basic yellow pigment right there for our backgrounds, just the camera slightly. And I'm actually going to take some pure migraine to start to deepen up the sides with this. I'm actually gonna go in with my brush that we used for the snow in the last class. So this nice stippling sort of brush here. Drying off any excess water whilst the page is still wet and can go in and create that stippling effect around the folder with that darker yellow color. You can do this with a brush as well if you want. My help cover a larger area within the electric time comes up quick spray, so night stays wet lost, I work my way around the edge. And when you are happy with its center, in the center, that's just to give it a tiny bit of texture. When you're happy with the blend, that is the background pretty much down, nice and easy, right? So just like before, we're going to be adding in some pine needles if you like, or pine, as well as some of those barriers that we did before. So what that means is switching back to our angle brush or small one that we've been using. And Washington out. Angle brush switching back to our Brown, we're going to be created two kinds of branches for this. The first branch is very similar to the previous thing we were doing by allowing it to be very natural. Twisting it, bending it, being very light touch when it of course, and just creating several different looks to it. A couple of 0s. What we're gonna be doing is having these coming around the edges. I might concentrate on some of the corners. So the opposite corners will be bringing concentrated with the spin. Ok. Just using a brown hair and nothing else mic stand because the background is still slightly wet. It won't give that effect that it is mixing and sort of a nicer color than it really is. Again, just concentrating less around the edges, more towards one corner. So those are the first kinds of branches. And the kinds of branches is to straight flat bronchus here because these are going to be our base branches for the pine needles to grow off with. Couple round the edges. Like SF. 6. Card 2: Pine & Berries: I'm taking my rake brush in a rake brushes of really good brush to have in your toolkit. I really recommend you getting one if you don't have one already. I use it for so many things. Especially when I'm doing animal bugging them using a rake brush to create the first few layers of my pine needles and taking a straight up green, no other colors mixed in. You want to have the rake brush SNR splayed out like it should be. Okay. That looks a little gloppy unless and from each of the straight branches, but they're going to create some long sheet of wispy looking pine needles. And it sometimes helps with a rake brush if you walked her down your paints quite a bit. It helps with loosen up the paints so it doesn't stick so much to brush. And it sort of has the fluidity to go a little more is better. You want to create these pine needles stemming from each of these branches. Nice and simple. And then you want to do that for pretty much all of the straight branches you've created. Stemming out from the center of thumb. Don't forget to go all the way down into a tape a little bit too. Otherwise, it really looks like the pine needle stop about halfway through. If you don't have a rake brush than you can do this exact same process with the detail brush. Of course, you would just be doing individual strokes or strands of pine. Say you wouldn't be getting the multitude. A little wisps from reg brush. Obviously be aware of your center. You want to be able to leave enough room to put a small amount of writing, such as like Merry Christmas, Happy Holidays or whatever it is that you want to write. If you wanted to, you could layer your pine needles with dark green, light green, you could choose a light source if you wanted to go for a pretty simple Codd design, you could leave the Pine. I like to add in a few little highlights here and there. So I'm going to actually mix with the white into my green camps to have dollop of white mixing into migraine to create this sort of light green. And you can also do the same with black and dark green to give them shadows. And again, doing the same thing. Having a few little green strands here and the light. Maybe you just want to add it on one side of the pine needles. Kind of impose depends on. You really like. And then just show you what it would look like if you were to ask some black into that. Picking up my black into a little bit of my green, I'm going to switch over to the swamps of nice dark green and black set. Now, just like before, in previous cod lesson clause, we are gonna do some berries. So you know the drill, hopefully taking that pure red and angled brush and using the very tip to add on a few little barriers. Now, these are going to be covered in snow, so make sure you can distinguish between each of the berries. And you're gonna be putting so many on each branch. I don't want to cover up or add too many. Well, like sand, that's all you really need to do that. Now, just like before, you can either use your angle brush like before I did. Or you could use a detail brush, whatever you're comfortable with. I'll show you with the detail brush this time you can get a little bit more control using the doc red color that we mixed earlier. And we can fill in the dark areas of each barrier to give that hint of shadow too that you find that you, Neil, it'll get more black mixed and live and final use just makes it a little bit more. Just picking one side of the berries and just putting this dark color here. Tiny, tiny amount doesn't need to be totally sold out. Just put it down, get it on the paper. You can always fix it later on. So it doesn't look right in any way. And then the same with the pink color for the higher values. And then just like before, if you feel like you're losing any of that red vibrant color, you can always go back in with some pure red and just fill out some areas that might be lost with the color a little bit like the ones here. And then a final little touch again, just doing those little highlights with the pure white on the select few berries, Mr. Reddy make them pop out. Alright, that is star. One last thing you can do for this COD is to go back in with some of that Doc Brown again and just deepen up any of the branches that look a little odd to you can also add a few little straggling branches coming out. And that painting will, that codesign is now done and you can peel away the tape will move on to our final cod painting. And again, I am saving this masking tape because again, you can get another use out of this. You can actually use masking tape probably around four to five times before it really loses any stickiness and doesn't really stick to the paper anymore. You just let this dry. And then you can rightfully, and when it's completely dry. 7. Card 3: Background: Alright then so as before using the same masking tape just to not be wasteful, I've taped down my third and final COD for this little class. We're actually gonna be doing a smelly pine. We're actually going to be using a brown for our backdrop now, only mixing a time but a blackened just give it some darker aspects. But I'm repainting the entire backdrop Brown as sort of like a wooded background in a way. Now I'm actually going to be going in and up and down motion with my brush. I worked less to kind of look a little bit like wood planks. So I'm actually going to take a bit of yellow as well and a bit of white to tiny bits. And we're going to start to create a few streets here and just copy down the page. Create the sort of texture. Smooth word. You can then take a little bit black and mix that. And we are brown and school well. And create this long sort of subtle brakes. Really subtle at first and then use the side of the brush to go in with a line down the actual word. That creates the illusion that there is some Planck's kind of as a backdrop and then using the side of the brush to kinda liftoff and also put some of that darker paint down, creates some texture within the wood itself. And now I'm going to let this dry completely before we move on to the next phase, we're going to be adding some pine needle branches again, and we're also add some snow clumps in that as well as the order of pine cone. 8. Card 3: Pine, Snow & Pinecones: Alright, so now backdrop has dry. I'm going in with my angle brush yet again, and we're going to create some of that. Going to make some tiny bit of Y2 and my brown, just to bring it back up to that lighter color. I'm going to start to draw in some pine needle branches like we did in the previous. Having just not too many. Yeah. Good measure. And then switching to the right brush again. And then getting our Green. And just as we did with the previous pine, we're going to start to add this along our high needles using straight up green to start with. And then we're going to switch to a light green and dark green. And then I think you get the gist of what I'm going for here. And then of course, switching to my black again makes no wouldn't migraine to create a nice dark green color? Having my hand the areas particularly dock. Again, because the background is quite Doc itself, you're not going to see this as much, so we're only going to add this me areas where perhaps the pi1 is being overlapped by another. And then going in that light green again, just to lighten up Pines, we can save a little better. Alright, so now we've got a nice mix of pine. And now what I'm going to add is the slow. So go in with that rounded, flattish stippling brush here. Taking my white areas book, tap it on fat on your palate. And now we wanna add a few clumps here in their bits just to give the illusion of snow and add a little bit up here. Now we're not done with our pine needles just yet. We are then going back to these in just a second. I just want to get off snow layer. I'm pretty much done thinking that all they're trying to keep it looking a little natural like its form on these pine needles. So that's why you see me kind of going in the direction that I am with. Coal may hear this one. All right, so now we've got all clumps of snow. We're going to switch back to our rank brush now. It's gonna go in with a nice mix of green hair. And we're going to create a few strands, be pine needles poking through the actual slow. This is again going to help it look a little more 3D at the snow is really landed in that pine needle. Can keep in the direction that the original pining tools going? No, helped it look even more realistic like that. Alright. One of the final things we're going to do for this little cod Hake, pine cone hat and maybe a little one dripping down here. So we're going to need might've Brown that we used beginning. Man, she going to add a little sort of blow up a bit here, kind of in a pine cone shaped. So that alone doesn't matter if the entries are rough. That actually adds to look right here. Maybe a little one way. We're going to let those dry before you leave any other layers with the pine curve. And then we can add some dark layers on top of that and give it some, we'll highlight some depth into the pipe curves. All right, so now I'm going to take my dark brown hair loss dry. And when I use the angle brush the very tip of it again to just sort of start to stumble and wet the little pine cone. Mayors are really rough, doesn't matter if it blends in too much with background because we ought to be using some highlights to pick out those came together and just taking it all kind of stippling along the edge. Now I can switch over to my rate brush, make sure all the Green has been washed out of that. And we're gonna use some straight up black or white for this. So I'm going to use the black first. Now because of rate brushes already splayed out in such a way it should be perfect for stippling on some shadows here. So I'm going to pick up a little bit of black and just dab that in the darkest areas of my pine cones can lead to noticing this too much, just because it's dark already just due to the layer we added. I'm just adding even dark layered, pick up some of those shatters, washing out my brush. Again, what? We're going to add some white. My add a light, light brown. I'm mixing a really pale, light brown hair stippled on, keeping the burst somewhat vertical or horizontal, my apologies. Just so it adds to that realistic effect on cans. Only a little bit, some of it. And then finally going in with that whites and adding in those brightness points on the Pine cut itself. And your next COD is done when you go to sign or write anything with it on a pan. Obviously you want to use something that stands out quite well. So probably a white pen or maybe even a gold or silver. My also worked really well. And like I said before, and you can get about three or four, maybe even five if you're lucky, uses out of masking tape before you need to really throw it away. So just keep that in mind in the future should not be so wasteful with anything. I just find it's really helpful in making a roll of tape will last longer as well. But that is your fourth Chris was caught or going to let this completely dry before we do anything with any writing. And in the next class we're actually going to decorate the envelopes that little bit. 9. Envelopes: So here are some envelopes that I have lying around the house. These are just some old ones. Nothing fancy. Plain white envelopes. I'm gonna go ahead and decorate the back of them to square this some acrylic paint going ahead and taking my angle brush and destroy and some simple branches like we did back in the previous classes. My brush, back green, the brown with fractions. And then of course add a tiny bit of Dock. Green, continues to give it another coloring. And we can also add some lighter green to give it highlighted the fact that that might creep in. So it was just one of the envelopes done. I can go ahead and do the other envelopes, how you want it to do them. Okay. And those are our three envelopes here. And you can write the names above them between them, et cetera, et cetera. That's everything for this little cross hair. Hope you enjoyed these three really easy, really simple Codd techniques that you can give to your loved ones and friends for the holiday season. If you are looking to tackle more complicated paintings, I have many, many clauses. Hey, all skill share. Including some more Holiday ones where you can paint Cognos and caps and all sorts of little things. So thank you again. Leave me a review if you enjoyed the class and because anything you would like to see in the future of my classes, and I hopefully see all saved. 10. After Thought: So again, thank you so much for sticking around for the class. I hope you enjoyed it. If you want to see anything else on future lead mirror view, leave any comments I call wait to see you all caught designs as well. And if you have any other designs, then do put those in the project section of the class. So happy Christmas and I will see you all soon. Oh, okay.