Acrylic Gouache & Fabric | Alma De la Melena Cox | Skillshare

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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 (47m)
    • 1. Introduction: Acrylic Gouache Paint & Fabric

    • 2. Overview: The Painting Up-Close

    • 3. Gather Supplies & Make Fabric Choices

    • 4. Decide On Your Drawing

    • 5. Transfer Your Sketch To the Wood Canvas

    • 6. Add a Fabric Background

    • 7. Paint the Flowers & Vase

    • 8. Create Contrast With Fabric

    • 9. Add Hardware To Your Artwork

    • 10. Make Supporting Elements Pop

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About This Class

In this project you'll learn how to bring fabric and acrylic gouache paint together on wood to create a vibrant mixed-media artwork. 

To make it fun and easy for all levels, you can download the project drawing below and 3 MORE DRAWINGS (below) for MORE ARTWORKS! Print them out and use them to learn the process in this art class.


From selecting fabric to color selections, you’ll be guided along the way. And you’ll learn how to use contrast in layers for more impact. Watch the introduction video to learn more.


I check the posts daily and I'm happy to answer your questions. I look forward to seeing your abstract artworks!


This is the project drawing (download the pdf). You'll learn how to strengthen your composition by adding fabric to the negative space and you'll add fabric to the acrylic gouache surface too.

Meet Your Teacher

Teacher Profile Image

Alma De la Melena Cox

Mixed-Media & Digital Artist



Hi! I'm Alma, I've been a mixed-media artist for over 20 years. I'm the author of Collage Fusion and Calling Dolores—a novel about creativity. I love teaching at art retreats worldwide, and sharing all my techniques in my art studio and online. I think Skillshare is super cool ❥.

For more inspiration and tips, visit my YouTube channel.

 My love of mixed-media has spread to digital art. Check out my Procreate classes here and here. I share FREE mixed-media backgrounds and photos for you to use in your artwork. 

I'm passionate about creativity—mixed-media art especially, because it's a great way to express yourself intuitively and to make your artwork and digital illustrations uniquely yours. Have questions... See full profile

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1. Introduction: Acrylic Gouache Paint & Fabric: Hi, I have all my daily Molina Cox. And today I'm going to show you how to create this artwork titled full cup of joy. You'll learn how to bring fabric and acrylic gouache together on wood to make it fun and easy for all levels. I'm making this composition and three other drawings available for free for you to use to learn how to do this. Or you can use these drawings as inspiration for your own design. I know you're going to love this process. I want to make sure you have more art possibilities to look forward to. This may look complex, but it's actually straightforward. We'll build on a sketch with layers of fabric and paint, then add the details to create a vibrant mixed media artwork that will beautify any space. My teaching style is clear and stepped out. I love to share why I make artistic decisions as I go along in order to help you build your art and creativity skills from selecting fabric to color selections. You'll be guided along the way and you'll learn how to use contrast in layers for more impact. If you want to get notified when I launched my next class, click the follow button above. Okay, I'm excited to get started. In the next video, we're going to take a close-up look at this painting. Let's dive in. 2. Overview: The Painting Up-Close: Hi guys. I'm going to flip the camera and I'm gonna give you an up-close view of this painting so that you can really understand what it is that you're looking at. I think it's really going to help you as the class progresses. I think a good place to start is down here with the stems. You can actually see the wood substrate behind. And then we have some paint and we have some fabric. And here, obviously there's a lot more going on. But really all it is is just layers of paint. And it's really just one layer of paint and mostly one layer of fabric with the exception of this little spot right here. One thing that I did with this painting, I capitalize and I'll talk more about this later. But I capitalized on the negative space by using it as an opportunity to bring in this line work of paint. And also you can, I'm going to try to zoom in here even closer so you can see you can see the wood behind the painting. And so all of that just adds up to lots of contrast. So hopefully you will enjoy this. Here. Again is the woods substrate behind the little cup and saucer. Okay, in the next video, we will go over the supplies. 3. Gather Supplies & Make Fabric Choices: There are two ways to approach this project. You can begin with the acrylic gouache paints that you may already have, and then find fabrics that contrast nicely against the colors that you want to use. Or you can follow my lead and find fabrics first and then work with the paint colors based on your fabric selection. Now, not all of you are going to have half fabrics at home. So I decided that I would take you on a little shopping journey with me so that you can see how I selected my fabrics. And then based on these fabrics that I chose, then I came home and found the acrylic gouache paints that I wanted to use with them. And I'll describe my decisions as to why I use the colors that I did. So based on my drawing, I have three main elements, the flowers, the cup and the bird. Everything else is what I'm calling a background fabric. And so basically I have the lower part, which is the table, and then the upper part, which is the flower background that I have in mind. So I went to the store with the intention of, okay, I need two main background fabrics. And based on these two, I'm going to make my selections for the little details for the three main elements based on these fabrics. Black and white is a great choice for high contrast in it always looks good with bold and bright colors. I chose yellows for my details because I knew that my flowers in my mind, we're going to be vibrant, saturated paint colors. That we're going to be warm colors like the yellow. And I thought that the yellow would compliment warm colors nicely. Here's a quick overview about fabric, but please see the supply PDF for more details. I bought fabric at Michael's, but any fabric store that sells quarters cotton would work for the detail fabric for the stems and the vase I chose between this yellow and the green, and these are cotton batik fabrics. I preferred the yellow for more contrast against the green paints that I would paint my stems with. There's more on paint in the painting video, but I just want to use one flower as an example of the colors that I used. In this particular one, you have that pale pink, the yellow, and then the darker orange. And then there are two fabrics that little yellow and white checkered, which is right here, and also the black with white dots, which is right here. So you can see that these teeny little pieces, you know, offer contrast. And then there's the checkered against the light pink right here. So we're just building on the layers that you'll see again in the painting video. This is all going to make perfect sense. But I just want you to know that we're just putting color down and then little pieces of fabric going forward. Okay, So let's talk more about the other supplies you'll need. So in addition to the paint and fabric, which is described even in more detail in the, in the supply PDF. I have to paint brushes that I used. This angled brush, It's three-eighths of an inch. And this is on the supply list as well. And I love the angle because it gets into those little corners. And then I have a number for round. And this is a really nice brush for, especially for line work. And for those really small spaces. You'll need a ruler to make sure that the table top line, that background fabric is parallel to the bottom edge of your wood canvas. So you're just going to want to just double-check the measurement even though the drawing is precise. You may also elect to have tracing paper and I do it so that you guys can see clearly what I'm doing. But if you can see clearly through the paper that you have, you don't need tracing paper. I also used these 0.7 millimeter posca pens. And this is for the detail work, the line work that you see around some of my flowers. And you can achieve this also just being more detailed with your round brush. And here I have just an inexpensive foam brush that I used for the acrylic heavy gel matte medium. And I love this brand, Golden. It's a little bit pricier, but it's totally worth it. And it's also excellent for the home Dick decorator fabric, which is a little bit heavier. And so this heavier Joe is great. I used a roll of paper that is as wide as my wood canvas, but you can always taped together smaller pieces of paper if you need to. You'll also need a wood panel minus 18 by 24 and it's 1.5 inches deep. And here you can see as I turn it over, that you can use the back of it to do any practice painting or fabric adhesion with the gel matte medium. You'll also need graphite paper or carbon paper. I used carbon paper, smaller sheets and just put them all together. And you'll see that in the transfer video. You can also freehand draw the design directly onto the wood. I just wanna give you options depending on your comfort level. 4. Decide On Your Drawing: In the overview video, we had a look at the surface of the painting. And in this video, I'd like you to just take a look at the drawings themselves and notice that they are all made up of fairly simple shapes. You're going to be either filling those shapes with either paint or fabric or combination of both. What I recommend is that you go to your local printer with the downloadable PDF that I've provided for you. These are already to size and they can print it. And then you can transfer that print using your transfer or your carbon paper directly to the woods surface. Or if you feel more comfortable, you can just copy the drawings and freehand them onto the wood with your pencil. All the drawings are divided in thirds. There's a base or ground. Or in the main project we have the table. And both the top and the bottom are areas where you could easily put backgrounds, fabrics, as I'm indicating with all the x's. In the main project, everything else was painted. First. With this bird drawing, you could make your rainbows either painted or fabric or boat for your background. Hopefully this digital drawing will help clarify. So pretend I have two background fabrics, the green and now I'm and I've painted in my quilts on my wood and now I'm adding fabric pieces on top of those painted quilts. So you can see that this is essentially how we are building up our wood panel. Imagine here we are just painting in the bird's wing. And then we place on top of it a little pattern piece of fabric. I'm confident that whatever you decide to draw, your artwork will be amazing and I am really excited to get going and seeing what you all create. 5. Transfer Your Sketch To the Wood Canvas: I like to look at my design as a map. So it's clearly showing me all the places where I'm going to either put fabric or paint or both for this piece, my background is going to only be fabric and I'm going to place my fabric directly on the wood. And these are the shapes that are going to be fabric. I don't need to transfer these lines. I only need to transfer the lines that I'm going to be painting. So I'm decided that my flowers, my vase, my cup, saucer, and the bird are going to be painted before they get any fabric, if at all. And I'm not going to transfer the string of my little t tag, only the t tag because I'm not, I haven't decided yet how I'm going to do the string. I haven't decided if that's going to be paint or piece of fabric yet. So I'm just going to leave that blank. I can always add that in later, but all the other painted lines I'm going to transfer and this is going to make more sense as you watch these videos play out here, I'm putting my carbon paper overlapped and right against the edge of the wood. And then I'm going to lay my paper on top and I'm not going to move it. So I'm not going to move it to check to see if the lines are transferring. I just trust that the lines will transfer and I don't want to double up on any lines. So I'm going to be really careful not shift the paper and anything that I miss. I'm going to just free hand draw it in later. So here you can see that I'm taking each flower one at a time. I'm doing the entire circumference of the flower and then I'm drawing the inner lines for each flower. And this keeps me organized and I'm going in rows. So from the top to the bottom, I'm doing all the flowers on the left-hand side first. Then I go to the top and I do all the lines inside that flower. And I'm using my left hand and fingers to guide me as to where I've been before and what needs to happen. So just keeps me organized. I'm being very careful to not go over parts where I've already drawn. I hope that makes sense. When you are drawing your lines, you'll see what I mean. So here again, and I'm just going right in order for all of those stems, I'm drawing them in their entirety. So one at a time until they're all completely done. And then once I'm done with all of the stems, I'm going to move onto bird and I'm going to paint in all these shapes. So I'm drawing all of those lines in, as well as the cup and the saucer. Also I'm drawing in the line that is the table. And you'll see this here in just a moment. I will put a little arrow so you can see what line that is that I'm talking about. Some of the lines did not transfer. So now I'm just going to freehand these in. I'm just closing up any flower shapes that are still open. In the next video, I will be adding our background fabric first. 6. Add a Fabric Background: I've toned down the video a little bit. See you can see my pencil lines clearer. We're simply going to get cut outs of all of our background pieces. And to do that, I'm not going to cut my original. I'm just going to trace all of my background shapes onto scrap pieces of paper. And if you don't see your pencil lines easily, I recommend putting your drawing up to a window, maybe even putting tape along the edge and then putting another piece of paper over that to trace easily. You can also use tracing paper. As you can see, I didn't have enough space to do those bigger shapes, so I will use bigger pieces of paper in just a moment. I just want to get all of these smaller shapes traced. So I love this fabric I selected for what is going to be my table. When you have repeat patterns or words, or repeat patterns that are big and words like this, you want to make sure that you harvest the thing that you want. I need to have at least one sentence that I can read clearly. So it's not a very efficient way to use this fabric, but it's such a small piece of fabric really, it's art. And so I really want to make sure that we see the entire sentence on this particular piece. So the next step is to lay my pattern piece over the part of the fabric I want. And I'm just going to pin that into place and I'm going to do my best here to show you what I'm doing without pinning my actual drawing to the main drawing. So I'm just going to put in three pins to secure the paper, the pattern paper to my fabric. Once it's pinned, I'm going to remove my main drawing so I don't accidentally cut it with the scissors. And I'm gonna do my best to lay everything as flat as I can. You can put as many pins as you need to to keep your fabric and your paper together. And I'm just going to move very quickly through these straight lines and then I'll slow it down a little bit when we get to the curves. So my tip for you as we're going around the curves is to really secure the fabric with your hands. So my fingers that are underneath the fabric are really holding on to the fabric so that way it doesn't shift when we're going around the curves. Then once we have our pattern cut out, we've removed the pins and we can start to put our pieces into place. Now, I'm going to repeat this process. Notice here that I have left myself space around my pencil line. And that is intentional. I actually start by cutting right on the line and then realize that as I proceed and go around the curve at the top, it's going to be harder, so it's actually better to cut wide here. You'll see that I will go ahead and cut all of the paper away from the fabric and it will just make my life a lot easier if I do that and then hold the piece without all of that extra fabric and then cut directly on the line. So the same way we did our table fabric. Now I'm just going around the curves. And once this is done, I will remove the pins and just put it in place just so we can kinda see what it's beginning to look like. So I'm going to add here my largest piece of background fabric first with the gel medium, you can start with the smallest piece first if that makes you feel more comfortable and if you want to gain confidence, you can always turn your artwork over and practice with some smaller fabric pieces so that you get the hang of it. I'm starting with the big one because it is the most challenging. And I just want to show you that it isn't a big deal. You can, you can do this. The thing is, is to move slowly, be methodical, and be very generous with the gel medium. You can dilute it. I think no more than like maybe 15 to 20 percent water. I tend to use it very thick because I like to be able to feel when I'm mushing the fabric down onto it, that I'm getting really good adherence. What I'm going to do is cover the whole bottom. I'm gonna do it in steps. And then I'm going to come back over with Joe medium and cover the fabric entirely with it. And so imagine that you're encapsulating the fabric in this polymer acrylic substance, basically in plastic. And what's cool about it is when you do that, then once it's dry, you can actually paint on top of it if you choose to. And it doesn't, the paint won't seep into the fabric and bleed into it like we would expect it to. So that's what the magic about this stuff is. What I love about it, is especially with the fabric on the wood, is that it just creates the super cool texture. So you can see that I put quite a bit of gel medium underneath all of this fabric. And now I'm going to begin the process of covering all of the fabric. And as I am moving my foam brush over, I'm also going to keep pressing it into and using my fingers to move it in. Here you can see that I'm lifting it a little bit because I noticed that the fabric was folding a little bit. I don't want to stretch the fabric across, but I also do want it to lay really flat. So you can, What's nice about fabric, which is different than using paper with gel medium, is that you can lift up the fabric and reposition it if you need to. Don't panic. If you feel like you're getting wrinkles, you just lift up your fabric and then go ahead and smooth it out and then add more gel medium if you need to, to the bottom before you proceed. So here you can see that I've got a generous amount of Joe medium under the fabric and on top. And now I'm just using my fingers to spread it. Nice and smooth. I'm not worrying about if I have a little bit thicker application in one part, I'm not worrying about any kind of streaks. You'll see later that this dries really nicely and it has just a beautiful matte finish, which I think is really fun. Especially with the acrylic gouache, which also has an opaque matte finish. So I'm gonna go ahead and speed up again and get all of these background pieces down. I do leave a margin along the edge of my artwork. So these are pieces that actually have space right around them. And that is so that if I choose to paint later, which I will, I have space to do that. The negative space is another interesting line to me. And so we'll capitalize on that later. At this moment in time during their creation of this artwork, I really did think that I wanted to keep the wood a plain background. And it's not until later and we'll talk through that, that I changed my mind, my extra threads along the edge, I want to make sure they're secure as well. So I'm going to add Joe medium. These background pieces will need to dry completely 100% before I take the next step, which will be to paint the flowers. And one tip is with your gel medium. I recommend that you clean your edge completely so that the lid doesn't glue itself down. All right, Thanks guys. In the next video, we will begin the painting process. 7. Paint the Flowers & Vase: Welcome back everyone. So we're going to begin my favorite part, which is the painting process. And the fabric is completely dry on the wood. And so I'm gonna go ahead and start painting my center flower because it's the most prominent, It's the largest. And so I'm not going to use a super saturated, vibrant color. I'm going to just start with this pale pink. You'll notice I like to apply paint in threes. So once I go around this particular segment of this flower, I will paint the pale pink in two more places around the bouquet. And that's so that the final piece, the colors, keeps the, the, I'm moving around when I use paint in that way. And this way too, even though no flower will be identical to another one, I will have consistency with my flowers. So you'll see what I mean as, as this progresses. But the reason I haven't sped up the painting yet is because I want you to notice just how slowly I'm going to paint. The acrylic wash is really absorbed very quickly by the wood. So you definitely want to use water as you go along, Not a lot because it can bleed into the wet. Remember what is porous? So if you need a little bit of practice, if you want to get a feel for how much water, what that threshold is, I recommend turning your artwork over and just using a little bit of paint and water on the back. Take your time. It can take several days to get through the painting. So just have half patients with yourself. And then the other thing I want to mention is that we don't, to stay in the lines. The flowers are amorphous on purpose, so that if you do go outside the lines, it's okay if they grow a little bit. And also, you could always, when one section is drying, you paint another flower that's right next to it. You could always, once it's dry, you know, make whatever corrections you want. And I don't like to even use the word corrections because, you know, it's okay. And if your style is a little more wild and I love that, then by all means, just do your painting without staying so precise. The most important thing is that you are enjoying yourself. So I'm speeding along now as you can see, and I've applied that pale orange three times, and now I'm moving towards a much more vibrant hot pink because it's all about contrast. The hot pink really stands out against my other paler colors. And as I proceed with my paint selection and the rest of the flowers, you're going to see that it's all about emphasizing the contrast. So here you can see now that I'm moving very quickly. So I'm just going to talk about the highlights here. Information that I'd like you to have. So this very pale blue, it's a, it's a cool color. And so feel free to mix your cool colors and warm colors because this is another way to get contrast and it is lighter than the lightest blue in my background fabric. So use white to lighten your colors significantly. And this is how you achieve even more contrast. And notice here that now I'm beginning to, the paintings beginning to speak to me a little bit. So I'm actually using a little more light blue than just the three. I'm beginning to see like okay, the direction, the colors that each flower wants, they want to be. So follow your instinct. Do listen to what the painting is saying. If you feel like going for a wild color, just go for it. You really can't go wrong with this process because the little pattern pieces that we are going to be putting on top of the paint, the fabric pieces, they're going to inherently offer that interest in that contrast with your paint colors. So just pick whatever colors come to you. And here I'm using the white. And you can see that it really is bold in terms of contrast against all of the colors that we have done so far. I'm also thinking about the yellows of the fabrics that I have coming. And I'm excited about also using the block fabrics with the white dots and the checkered fabric. I think that those will look really good against these paint colors. And now I am putting this unexpected crimson red. Well one, it's a lot darker and so that is another point of contrast, but it just keeps it interesting. Now I'm beginning to paint the stems and I have my two colors and I'm blending them or I will be blending them as you see me going along, finishing up the stems and I'm also blending them with white. And that's another way to get some color variation. And I'm bringing bits of the green from below, above into the bouquet. And that is to just create more cohesiveness between the bottom of the, of the vase and the top of the bouquet. And of course it's okay to jump around. I felt like I needed to paint those stems before I proceeded with the rest of my flowers, I needed a little bit of green in my bouquet. And then that prompted me to want to use this bubblegum pink color. Because remember that green and pink and red. So these are all complimentary colors. And so I just wanted a little bit more of that pink. And now I'm painting the vase a paler blue then the lightest blue in the bouquet. And that's just to brighten it up. And again, it's cohesive, but it does offer contrast. In the next video, we'll begin to add some fabric bits before we paint the bird and the cup. And that's because they are supporting elements. The bouquet is the main event. And so I wanna make sure that I have it's look in place before I proceed. 8. Create Contrast With Fabric: In this video, we're going to be using tracing paper to create little patterns for the fabric pieces that are going to go on top of our painted flowers. And much like we did the background, I'm just making amorphous shapes and in this case I'm giving them breathing room so that I will be able to see paint around each of the little shapes that I'm drawing. And I'm just using a Sharpie here so that you can see it clearer, but you don't have to use a Sharpie. I'm cutting all the way around my little shape and then I'm pinning it to the top of the fabric. And you can use more pins if that's what you prefer. I'm cutting the whole thing away from my fabric and then I'm securing it a little bit better so the fabric doesn't move as I cut directly on the line. And I feel like a little magic happens when I bring the little fabric pieces to the surface of the painted flowers. So now I'm speeding up and I'm going to go around and add little fabric pattern pieces to as many flowers as I want to. In the same way, I repeated paint colors around my bouquet three times. I'm doing the same thing with fabric. So you can see that the black fabric with the white dots isn't a triangular shape on that bouquet. And now I'm adding this yellow and white checkered. And I'm going to slow down the video just a little bit here. So you can see that these particular pieces of fabric with the little insects, I'm actually intentionally finding the right insect that's going to go, That's going to be placed. And the reason I'm doing that is because I don't want the same little b to go around the flowers. I'd like each of these little insects, since my fabric has three different insects to look at, I'm going to place the three different types of insects around my bouquet. I love this fabric because it reminds me of honeycomb. And so I feel like it's really appropriate with the little b fabric. You can see that each of the little insects also have just a little bit of a different flower motif next to them. And that is also intentional, so I don't have to cut out the whole flower inside the fabric next to the B, I can just cut a part of it, right, so that we, we read that it's a be coming to this little yellow flower within that little fabric piece. As you're cutting out your shapes, you may have to go a little bit bigger just to capture just that little bit, that little scene. So with the checkered fabric that I'm going to apply next here, if you look at the top of that light pink flower, now I'm breaking up those pieces because it just seemed like it was too much. I needed more space around each of those little fabric pieces so that we can see more paint. Because it's a powerful fabric. You meaning your eye really is, you know, focuses there. So I'm just breaking it up a little bit. So with this lemon fabric, the lemons are just way too big. So even though we will never see an actual lemon in my bouquet, I'm capturing what I loved about that fabric, which is the contrast between the three colors, the yellow, the green, and the white. Notice that I did add that block in white dot fabric on top of a little yellow checkered fabric in the center of that pink flower in the center of the bouquet. It's the only place where I've layered two pieces of fabric. Now with my stems, I want to include as many colors as possible. So I'm making sure that I'm selecting the parts of the fabric where I can see the gradation of the color changes. So here, this one particular stem is getting two pieces of fabric. One part of that fabric has more green and then the upper part just has a little more brownish yellow. And I'm doing this for a few more of the stems now I'm not going to add fabric to every single stem because again, it's about the contrast. So I just want to add a few so that we really see how it interacts with the painted ones. And I think just adding just a little touch of that gradation is enough to create interest inside that base. So once I have all of my little fabric pieces cut out, I will organize them just a little bit better. And I'm going to start the gel medium process and go easy here you want to create space so that you don't get Joe medium that you don't want in places where you don't want it. So I'm going to go ahead and start with the tiniest pieces of my fabric pieces in the stems. And it begins with this little teeny triangle. And you don't have to go as small as I did, but I just want to show you that it's possible. And here you can see that I'm using my handle. I have a little bit of gel medium on the surface. I used my handle to push it into place. As I use the tip of the scissors to hold it in place while I put a little gel medium right on it. So I just wanted to show you that you don't have to use your fingers. It would be really challenging to add these TNC little fabric pieces with my fingers. So use the tools that you have. Now I'll go ahead and show you the next one as well. And you can see that I'm I'm working hard to keep my gel medium also contained to these teeny little areas so that I don't get the other fabrics involved. Now, I think it's perfectly acceptable if you don't want to cut any of your stem fabrics because they are pretty thin and some of these are very small. You can just cut some stem like shapes from your fabric and they don't have to fit exactly in the painted lines. So you can have a little more of a loose approach if that appeals to you more. So here I'm just going to make sure that all of my fabric pieces are exactly where I want them to go. And I'm going to move released slowly through this upper part. Another thing that you can do, if you prefer, is take a photo of your bouquet. Once you have your fabric pieces where you'd like them to go, and then in case things get messy or you accidentally bump your fabric pieces, you have your reference photo. So here again, I'm using the sharp point of my fabric scissors to position these teeny or pieces of fabric. But you can see that the black and the white and the yellow fabrics, you know, really do bring these flowers to life and give them quite a bit of movement, even more so than the paint. So once I'm done adding these Fabric bits to my flowers, then I'm going to go ahead and make sure it dries 100%. I'm going to determine what paint colors I would like to use for my bird and my cup. And so I wanted to have the flowers finished. So that will determine what colors I need for my bird and my cup in order to have the piece look cohesive and also have the contrast that I'd like. So that's what we'll be covering in the next video. And here I just want to mention with the central flower that has two pieces of fabric stacked on each other. It's the same process. So you put gel medium under and on top, even when you're stacking your fabric. 9. Add Hardware To Your Artwork: The artwork isn't finished, but I'd like to take a little break from my art just to give it a chance to maybe tell me something. In the meantime, I'm gonna go ahead and put the hardware on and then I will continue in the next video. Let's add hardware about a quarter or a third of the way from the top. So for me I'm going to mark it at six inches. I'll turn the top towards me and I'll mark it at six inches with my pencil. I'm going to use D rings that have two holes for screws, but you can use one whole D-ring as well for this weight of art work. The key is using the appropriate hanging wire. And so just make sure that you look at how many pounds your wire can handle. I believe this is a 30 pound wire, so no problem there. So you're just going to thread it through the d part of your ring and you're going to twist the wire around itself to secure it on one side. Then pull it taut and give it a little tension as if there's a nail hanging that. And then you're going to add a little bit of extra, maybe about six inches extra line so that you have plenty of wire to thread through the d part of your ring and then twist that extra piece around itself. I like to add a little piece of tape to my wire and I just have painter's tape on hand and that's just to protect my fingers when I'm hanging it, the wires can be really sharp. I'm going to go get some tea and I'll finish up this artwork in the next video. 10. Make Supporting Elements Pop: Before I add paint to the bird and the cup, I'm feeling like the flowers need a bit more contrast. So to make them pop, I'm going to use my posca acrylic pens. Before I start with my black pen, I'm going to first test it on a scrap piece of paper. The first flower that's calling to me as this one with the white. So with this detail work, I'm just going to make sure that I'm listening to the artwork. My goal here is just to give each flower a little more personality and a little more pop. And then that will help me also determined my color choices and what needs to happen with the bird and the cup. Here I'm going to just repeat the line work just to give it a little more emphasis. And you can see that my lines, they're a little shaky and it really doesn't matter. Now I'm using the white pen and you can see that just using a variety of lines and sizes of dots, varying that size does make a difference. You can also include dashes or any element really that appeals to you, like geometric shapes, hearts, anything that you enjoy. So after sitting with this artwork for some time now, I decided that the bird needed to be black. I felt like it was, it's the boldest color I can use without it being something like hot pink. I wanted the bird initially to be blue because of what the Bluebird symbolizes. It symbolizes joy. But I thought if I make it black and give it some blue details than that would work for me. So plus the black acrylic wash is just amazing. It's so velvety and beautiful when it's dry. So I think the bird is going to get plenty of attention and pop with the black. Mix, the red with just a little bit of the hot pink so that it mimics the color of the flowers above. And you can see here that the cup, I've decided to have it really stand out. And I like to paint in this way where the bird is not quite finished because I want to put the color in with the cup. And then that also helps me determine what colors the details are going to be. So there is a lot going on with this artwork. So with the cup, I just decided that the saucer would be a little bit darker shade than the cup itself. And even though it's a bold color, the red because it's, doesn't have as many details as the other parts of our painting. It does sort of lend us a space where the eyes can rest on the painting. So I feel like there's a lot of business at the top, but then it's just calmer where the cup is and the black background with the words. Here you can see I'm just giving a white outline to what is the top of the table. And I'm still adding details. So as I paint one element, my eye kind of roams around and sees where we might need a little bit more. I'm preparing the fabric for the cup and I will use gel medium to place that later. Right now I'm noticing that I need more contrast between the birds back and the wood. So I'm just adding a little pen work there. And I used my pen to add in that piece string. I went ahead and added gel medium to the fabric. So that is done. At this point. I'm not sure if I'm done with the painting, so I'm gonna go ahead and paint my edges with a one-inch flat. And I'm using acrylic paint instead of quash paint because it's more affordable. But you can use whatever it is that you'd like. The acrylic paint will give it a little bit of a sheen compared to the opaque wash. I took a break and decided that I needed even more contrast between the flowers and the flower background. So here I am drawing in a line that I'm going to use as a guide to paint in some blue and I'll be using smelt blue null. You'll see it here in just a moment. It's, it's brighter than the blues in the floral background. It's very similar. And so I feel like it does a really nice job. I want the flowers to feel like they're contained. And so I'm going to speed up here, but I just want you to see that this is a tedious process and I'm not going to lie to you. So it did take me quite a while to paint in this line. It's very wobbly, but I love it. I feel like it really makes a difference with the final piece. Now there are other ways I could have gone about this. I could have also put in maybe some black dots or, you know, I could have left it as it is to, I feel like I'm just strengthening my composition. And this is what happens when I walk away from the painting and then I come back and I see something that I think could be better. And so that's why I decided to add in all of this blue. The important thing with all of this is that you make your painting your own. And I feel like this process is slow enough that, you know the painting, we'll direct you as to what it needs and what it wants. I have to say, I'm really sorry, there's a fuzz on the lens of my camera and I didn't notice that before. So it's a little bit in the way when I'm doing these final dots here at the bottom, I'm going to alternate between the black and the white. And I feel like I have two fuzzy is going, one on the left and one on the right. But I feel like here at the end, it doesn't matter so much. You can see that overall, the piece has been done now for a little while, these are just the extra details. I'm really excited to see what you all create. I hope that you'll post your beautiful artworks and the projects. Thanks.