Beach Watercolor - Create a Lovely Coastal Flower Fence Scene | Kellie Chasse | Skillshare

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Beach Watercolor - Create a Lovely Coastal Flower Fence Scene

teacher avatar Kellie Chasse, Artist/Instructor ✅ 16+ Years

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

17 Lessons (1h 17m)
    • 1. Introduction About Me and Why I teach

      2:09
    • 2. Watercolor Course Materials

      3:48
    • 3. Sketching in your Beach Fence

      2:52
    • 4. Practice painting a fence

      4:53
    • 5. Sky practice

      3:15
    • 6. Painting the ocean

      2:54
    • 7. Creating sand

      2:02
    • 8. Practice making grass

      4:57
    • 9. First Layer of the dune

      5:28
    • 10. Painting the fence

      4:28
    • 11. Practice wet in wet layers for water

      4:32
    • 12. Creating waves

      8:03
    • 13. Painting beach roses called rosa rugosa

      2:57
    • 14. Adding the fence

      3:08
    • 15. Creating fine lines for the wire

      2:32
    • 16. Adding just a few final details

      3:14
    • 17. Bonus Lesson Framing Final Video

      15:42
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About This Class

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Watercolor Painting Course step by step for all levels  - Create a lovely Coastal Beach Scene with a charming fence.

 Step by Step Easy for Beginners - Coastal Beach Fence with Rosa Rugosa Watercolor Painting

Create and have fun! In this course you will learn simple watercolor and gouache techniques and how I use them step by step in REAL TIME to create this beautiful Coastal Scene.

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Watch the video above for sneak peeks at the beautiful painting you'll create during this course, then be sure to ENROLL NOW!

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This is an Beginner to Intermediate course for those of you that want to develop your skills with Watercolor. I'll take you through the entire video of my steps and process to create this Scene. 

In this course  will cover: 

  • Materials needed 
  • Learn to prepare your watercolor paper.
  • Practice Sessions
  • Create a wet in wet background technique to create a soft flowing background with clouds. 
  • How to layer the watercolors and placement of shadows using a brush for a details. 
  • How to create roses and more.
  •  Plus a Framing BONUS Section
  •  How to professionally frame your paintings. 

Painting is a lifetime skill that anyone can learn and enjoy. Over 1000 happy students are already creating some lovely masterpieces taking my Live and online classes using watercolors and Alcohol Inks! So come be creative with me and enjoy all the compliments to come on your own special art creations you will soon be hanging!

With the right instruction and a little bit of practice, you too will soon be able to make your own stunning art pieces!

Feel free to find my social media platforms in the profile section. I would love to see your final paintings posted there.

Happy Painting!

Kellie

Safety Note:  When using paints and chemicals please adhere to any and all manufacturer safety guidelines with these products.  If you have specific safety questions or concerns please contact the product's manufacturer.

Meet Your Teacher

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Kellie Chasse

Artist/Instructor ✅ 16+ Years

Teacher

🦋 kelliechassefineart.com 

 

Thanks for dropping in on my Skillshare profile!

I hope I get to see you in a class soon!

Make sure to follow for all future classes and updates.

 

ALMOST 50 CLASSES ARE AVAILABLE HERE ON SKILLSHARE! 

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Transcripts

1. Introduction About Me and Why I teach: Hi, I'm killing and I live in the beautiful state of mean. I am a self top professional artists and I really enjoy simple living and being debt free. I just wanted to take a minute and welcome you to this course. I'm happy to have you here, and I'm really looking forward to teaching you. It's a little bit about me. I was born on Earth Day, April 22nd. I won't give you the year, but my hope is that my rework reflects a free spirit, love and compassion for Mother Earth. I have a website, Kelly chassis, fine art and a YouTube channel with thousands of subscribers who enjoy learning about watercolor and alcohol ink painting tips. You can view my original art prints and cards on etc. And my shop is under the name Kelly chassis Fine art. And I'm also on all social media platforms under the same name, such as Facebook, instagram, twitter, Pinterest, lengthen and anything else I might have for gotten. But I would love to have you stop by just to say hello to me. I've been teaching classes here locally in Maine for about 10 years now, and I have perfected my techniques and step by step painting processes over many years, and I've met so many wonderful people at the Portland International Jetport as their featured artists since 2014. And I began teaching online classes really, because it's a amazing way for me to reach other artists and crafty people all over the world who share the same passion as I do for making art. And they put together this course from the perspective of knowing what it's like to be a self taught artist and to start from nothing. So with my courses, you get simple, easy to understand directions, step by step and in real time. And I know that you value being able to learn your own pace while still having access to the instructor for help and feedback. And I truly hope you find everything in this course very clear and easy to follow. You will learn some basic painting techniques while enjoying simple riel time steps. If, however, something is unclear, please let me know what I could do to help you and clarify anything for you and feel free to send me an email again. Thank you so much for joining the course. I'm excited to have you here, and I can't wait to see what you can accomplish 2. Watercolor Course Materials: So let's get started here for materials that will need for this course. I'm gonna be using arches brand watercolor paper. It's 100 £40 cold press, and it has a rough side in a smooth side, and we'll be painting on that rougher side. I also have a backer board, and you can use any kind of border either canvass, board, even cardboard to take your painting down. But it's just so that you'll be able to turn your painting as you're moving through the process so you don't to take it down to your table. And as I said, we're gonna have that rougher site up. And if I can center this into this eight by 10 foam backer board and put my mat, which is an opening of a five by seven directly on top, I'll be able to see in this area that I'll be painting in. So I'm gonna take my pencil on just Mark four Corners here with these four little dots, and that way I'll know what area to tape down. So when I'm completed with my painting, I'll have everything actually showing in my in my scene. So what will lead as well. Who put this aside? Will be using a number two pencil will be doing some light tracing for this for sketches. I also use a black Sharpie, and you don't have to have a black Sharpie. But I could. You could put birds, and with this you can do your signature with Issa's well, and I also use a polymer racer. This is if you have to do any type of erasing. I don't recommend using your number two pencil eraser because it can mark your paper. I'm also using a 3/4 inch oval wash. Brush something with some nice bristle so you could absorb the water well. And I have here in my little Windsor Newton Cotman kit, and in this kit comes a little sable detail brush, and this is a nice point on it, so you can get some really small details with this. We'll also be using for this course some white wash, and this is non transparent, and I'm using this to put in my white areas, and it's fairly thick. It's almost like toothpaste will be watering this down, and I'm using that really, in place of a masking fluids will be able to use this on top of our painting rather than leaving an area white now. Also be using two cups of water usually have one clean and one for dirty, and that way you're not always running to the sink, and plus your colors will get muddied. We also have a roll of paper towels. Won't be using this just to either wipe upper brushes or if we have some excess paint. And this is the Cotman kid up close. This is all of the paints that we usually use for most of my courses and opened the shows. You what The kit looks like my nice used kit. And so what we'll do next is tape down our our watercolor paper, and I'm just using a regular painter's tape. For this. You can use masking tape, but this works best cause you can lift it up and not have to worry about tearing your paper once you're completed. So what I'm doing now is I'm just taping those four sides down and you can see where my light pencil marks are. So I'm just gonna not make sure not covering those areas as I'm doing this, because that's gonna be the area is gonna show on your mat. I was gonna get off for these corners done and will be ready to paint. 3. Sketching in your Beach Fence: So we're gonna go ahead and lightly sketch in are seeing here first, and this gives you a visual on a pdf in here is well, so you could print this out if you want to have a right beside you while you take the course. And I also have a print out of the actual sketch, so you'll have both of those if you need to use them. So you're gonna grab yourself a number two pencil or you can also use a mechanical pencil if you need to. And you could see I'm coming down just a little bit about of 1/3 3rd the way down and this is gonna be where our skyline is, and I'm gonna go ahead and put in some little bushes here and these air little beach roses that we have here in Maine there called the Rose. Arrigo says, I think I said that right, But they smell wonderful. And go ahead and just make sure that this line is pretty straight. If you need to grab a rule, you can go ahead and do that. I just like to do things for a hands kind of eyeball. It says we paint this, then we can kind of straighten it out if we need to. So this is gonna be our Sandline here again, Very lightly sketched this in because it's gonna be quite light where the sand meets the water edge there. So you don't wanna have a pencil, a dark pencil line showing up. So if you can sketch and lightly, that's the best thing to do with watercolor. And he's gonna be our total offense lines here, and these are kind of coming at an angle is I come down here and getting a little smaller, and this is going to give you that appearance of some distance. So as they come down the hill are going further away from you, and then they have this little wire that kind of runs through them all that connects them all together and again. I don't want this perfectly straight. This is an old beach fence. It's lots of where it's been out here for many years. And if you want a darkened thes lines up for the fence, you can do that because as we add some layers to these beach roses here on the bottom, you may lose your lines. So if you want to go ahead and dark and these these are gonna be a real dark gray anyway, So it won't be a problem with you covering those pencil lines. And I'm just gonna give him a little bit of wit. Here. I can think of it is that this gets a little bit closer to us. Those might get just a little bit wider. Gonna add one more right up here, kind of peeking out from the scene there. All right, so we're gonna go ahead and do a practice demo for our sky before we start, but you got your sketch all in. 4. Practice painting a fence: right, So let's go ahead and practice a sky. If you decide that you wanted to use a masking fluid, you could go ahead and put a masking fluid on here toe leave areas white. But for my classes, I try to do things very simply and try to get you completing with a painting within, you know, an hour or two. So if what? I like to use a squash instead. So for our particular course today, we're going to go ahead and just use whitewash for those areas. So I just wanted to show you there are a lot of different options of colors. This is the comic it. These are all the different blues that that you can get. But really, you can make just about anything on the color wheel with this basic 12 piece kit that that we use here the common kit so you don't need to have every color in the rainbow. So if you just start with your primary blue, you can add whites. You can have blacks to change the colors, the tone or the tent, so all you really need is a primary blew a primary yellow in a primary red along with white and black, and you could almost create any color you want with that, so I would recommend you have a chance. This is just a simple demo color wheel that I started with my students, and you would just start with a primary yellow primary blue primary red. And you can go ahead and try one of these on your own and just, you know, kind of play with colors and see what different creations that you can you can make using your color. Will you go your secondary colors. You can add whites to the blacks to them and see all the different variations you could come up with. All right, so if you want to grab yourself a little demo paper and I'm first of all, I'm wedding my brush. Some have a nice, thirsty brush here or a give it some water before we even started. That way, you'll be ableto create more paint without it, sucking up all of your paint. And what I've done here is just added clear water to the top portion of my paper here. Let's go ahead and play with us a little bit so we can come up with. So I've got some ultra marine blue here, and what a lot of my students have a hard time with is getting a real dark color in order to get a darker color. It's really less water, so you can see here. I've got a lot of water on my paper and if he's just a little bit of water in the pigment, so I have a very nice light shade of sky blue hair and get a nice look of clouds by tilting your paper up so you don't have to get paint or pigment over the entire area of white. So let's go ahead and clean this off. We'll try it again here, using that same ultra marine blue. I'm using a little bit more pigment with this one, and I don't have this wet so you could see how much darker this is. And I still have a wet brush so it could go even darker than this if I use less water. And now, instead of giving that nice misty look, I'm kind of just covering the entire area here, so I get a nice, solid, even color blue and then, if you want. You can rip up a little bit of paper towel here and ball it up, and we can create some clouds by lifting the paint out. This gives you a few different options you can kind of play with. You kind of tap it in here. The harder I press on this, the more definition I could get in the clouds. So this is just a nice little light tap, so it gives you those nice little area clouds up there. Let's go ahead and try the cobalt blue, which is the side in here, and it's a little bit darker. It's got a little bit of a tint of green to this, which makes for pretty water, and I've gone in with less water against. This is gonna be even darker, so see how rich of a blue can get. This is your painting. I've said this before. If you take another classes is really all about you and what you prefer, so you can kind of play with these colors and anything you want with ease. You see, if I add some water to this, it could get nice, gradual lightening of that color. You could see how Let you can get it. So go ahead and play with this a little bit. Tried a few times, if you like, and just gonna practice and get comfortable with it before we start painting. 5. Sky practice: all right. So now that you're comfortable with creating some skies and colors, let's go ahead and start our painting at the top. Here we'll start with our sky and the reason I start with this guy's I like toe layer my paintings in a way that you can build upon the next step. So I usually always start with my sky backgrounds when I'm doing no water scenes or Seascape scenes. So I made sure my brush is nice and clean, using the Clearwater again and just going toe lightly. But some water down my sky area and remember pigment will Onley go to the areas that you actually have water by adding the water first to this, it keeps it just in that top section for me. Let's go ahead and mix ups more of the ultra marine blue, and you could say, keep dipping into my water, dipping into my pigment and creating a little puddle here. Now I want to lighten this or get some more pigment in my trade could just go ahead and add water. Lean it to the side here so that it pours off with a brush in into my little pain palette here because that brush wants to suck up all the pigment. That's again. Why? What's very important to have a brush is completely wet so that it doesn't suck up all of the paint that you just made. So I'm gonna do this one light and airy, leaving some white spaces on here like we did on the first demo. And then you can kind of adjust it again, trying not to cover up all of those weights basis because it almost looks like clouds in their very naturally let's go ahead just for fine and add just a little bit of this other blue to it. So just a tiny bit kind of mixing it in with the blue that we already have the adding a little bit of that Teal given a little green because we want to reflect that into the water down below. This just gives you a little bit of darkness in this guy. You don't need a whole lot of it, but it just gives you another little value in there against tipping it down will be rocking it back and forth, see if I can get that pigment to move a little bit in the water and it gives this nice, smooth blending. Look, now what I'm doing here is just lifting a little bit of paint out to give myself just a little bit more light in here. So as you drag it across, swipe it across on your paper towel and that will lift it. If you continue toe, just kind of move it back and forth on the paper, it will settle back in. So you really If you want a lighten it, you've got to kind of lifted, wipe off the excess paint and then go back into that. You don't deposit it right back onto paper, and this will give you clouds in the distance and try not to overwork it too much. I was going to kind of let it sit. I think that's good, and we'll go ahead and move on to our next section. It will begin our first wash of color for ocean. We want to make sure this is nice and dry before we do that 6. Painting the ocean: All right, we're going to start painting the oceans is gonna be our first wash. This one's gonna be a little bit lighter, and we're gonna add some more details to this afterward. So we've got this nice little puddle of blue are ready, so we can just go ahead and add some cobalt blue right to that. And we're gonna deep in this up just a little bit more paddling a little bit of that teal called Meridian green. And remember, these colors are all about you're liking. So if you want to do something a little different, feel free to do so this time I'm not gonna add water first to this. I'm just going to go directly out of the paper. And I always like to test my colors to see how they're gonna work with the color above it. So I got a little scratch piece of paper here to test the color. I'm happy with that. So I'm gonna go ahead and just lay this right down on here and trying to be straight to they do this. Now you can see that my sky was just slightly damp up here. It wasn't completely dry. so you could see how that color is bleeding into my sky You're gonna want to do is make sure that this is not even damp to touch when you when you go ahead to do yours, you can also use a blow dryer if you want to blow dry it real quick before moving on to the water. So I'm what I'm doing as I'm just trying to kind of smooth that out a little bit, and I'll add a darker shade to this later so I can adjust that line where it's a little fuzzy there but was really wet that would really bled up into the sky area. You could also hold your paper an angle kind of tilted. Daniel, help bring that back down into the water area rather than coming up higher into your skyline. I'm trying to skip a fuel places here and there with my color, creating some natural looking waves. We're gonna add some wash to this and some darker shades, as I said earlier, so I just want to try to give yourself a little bit of room kind of no, not filling in the entire Arab straight blue this way you'll be have some different shades of blue in there, which will make it look more natural. You'll have some natural reflections from natural dark spots where your waves are. You look at the water, the ocean. It's not all the same color, cause those waves will be cresting in there a little bit lighter at the top, and they've got that darker undertone. So as I get a little closer to the sand here, I lightened. That blew up just a little bit, and that was just really pigment was basically running out. As I was dragging that through, I didn't reload with any more paint. The next section will be adding our beach, and again we'll make sure that this is nice and dry before we do that. 7. Creating sand: All right, so let's just do a quick, little bit of sand on our painting hair on. I zoomed out a little bit for you. I want you to see I have my clean water still and my dirty water doesn't really well are times I end up putting it in the wrong one, and I end up with two dirty waters. But I've done well so far, so I'm gonna go ahead and go ahead and use some of this yellow Oakar and I just want to show you here If you wanted to kind of blend the two colors together, This woman makes more of a greenish color, so you don't want to do a whole lot of blending. But if you because the blue is completely dry and abounding that yellow color to it and I'm reactivating that blue Barbican see where you can get a nice transition of color because you think about you know, the water is gonna be laying on top of the sand in some areas is gonna be a little bit deeper shades. You're gonna have a little mixture of the two together. Now my blue is quite light, so this will be easier for me to do that. It would be with that darker blue because you could see it's more of a greenish color turned. So I'm gonna go ahead, start with just layering a little bit of this down here, and I want my sand too dark. I want it fairly light and going up into that blue just a little bit. And that blue is nice and dry so you can see where I'm adding that light shade on top. It's creating 1/3 color for us. Gives it a nice transition from the wave into the sand area, and you don't need to overwork. Too much less is more here once you get your lighter color in there. I just tapped in just a little bit of a darker shade to give us a couple different colors in here, and that's all you have to do for your saying so again. You don't want to overwork it too much, just kind of get your color in there and let it kind of sit, and some of it will be a little lighter and some will be a little bit darker. So our next section we're gonna do a practice session on leering are washes for our beach roses, and this will take a little time 8. Practice making grass: All right. So let's go ahead into a practice session on how to create some depth with layering our colors on top of one another. So using a scrap piece of paper again, I'm just going to add water to it first. And then I'm gonna be using some lemon yellow. There's also cad yellow. It's a little deeper. You can use that one as well. If you don't have a lemon yellow, both will work Fine. And now save water down here. I'm just tapping in some of this yellow so you could see I have a few little white spaces and some of that will fill in. But those kind of the areas that we're gonna go ahead and put our roses in so I try to leave a little bit of that lighter area so we'll get our yellow down and then mixing up some sap green into that yellow. So I'm getting a nice, lemony line kind of color going here now. So it's the two are mixed together, and we're gonna tap that on top again. You could see my yellow is still wet, which is what you want to do. They want to keep this wet to this blends a little bit. It gets very muted this way. I had a tap a little bit more again trying to keep some of those areas light, leaving some, maybe some white spaces. Some of that, because the papers completely wet may fill in a little bit, but it just gives you some nice light areas to go ahead and pop your roses in once this is all dry. So now I've got two colors going here, and I'm gonna build upon this. We're gonna go a little darker this time, so let's go a little bit heavier with our sap green and to that at a little bit of that meridian. And then we have a little of the yellow in there. So we're going one more shade darker. And as long as each shades getting a little darker than the other one, we're getting a little bit different color. That's what we're looking for is we don't want this all to be the same color. When you're looking at the sun hitting those roses, you see so many different shades of yellows and greens. You get the rial light and you've got the real dark. Do you really need a lot of different shades and a lot of different colors in here, trying not to hit the same exact spot to hit before leaving some of the yellow, leaving some of that lime yellow? And now this little bit deeper shade? Well, let's go even darker. So I got the sap green and let's go ahead and add some ultra Marine blue to this. See how rich and dark that that could become by adding a little bit of that blue. I can just pop against a little a little bit more variety, and I will make sure you have enough here. So that's a nice deep color. I'll cut dark and rich. That is so This is the shadow areas that we're gonna be seeing. And again, I'm using that. Just the tip of my brush, just kind of tapping it in here. This is all wet, so this is gonna blend in. It's just kind of blooming in there, so let's go ahead and add now some of the brown to this. This is burn number a little bit better than using sienna color, cause it's got a little bit of red in it. You don't want to use that. You want that nice, dark brown. So see how you can go even darker with us by just changing out just a little bit. And slowly add those darker colors to your lighter colors because you can get them too dark too fast. It will become to brown, so just kind of slowly add us to them. It's again. I've left a little bit of that section on top, more light and where the shadows would hit underneath it's a little bit darker. Now, let's go ahead and grab our little brush and I'm gonna just let this down and then we're gonna go a little bit heavier on the pigment for those last section. So when I add a little bit more of the pigment to this so I'm more pigment on, this is less wet and I'm just gonna using this flicking motion with my brush. You can see how I'm kind of holding, and I'm lifting it up and flicking it. So as I come up on it, I'm lifting my pressure off of my hand so the the blades of grass will be thinner at the top in the thicker at the bottom. And again, this is just going to give us an illusion of some grass tall grass that's in behind. And we're gonna wait for this to dry, and then we're on. The original painting will go ahead and adds some, uh, more drier pigments to this. Once it dries and it will bring the grass more forward looking Czyz becomes kind of the blurred background for you. So once you're comfortable with this will move on to the next section and we'll go ahead and start our first layers in your betrays is 9. First Layer of the dune: All right, Val, you've practiced that. Let's begin our beach roses on our painting. So our sand areas nice and dry again. If you need toe, make sure it's dry. You could hit it with a blow dryer for about a minute or so, and make sure that it is completely dry before you start this next section because we don't want that yellow toe bleed into our sandy beach area. So make sure brush is nice and clean again, and we'll start with that lemon yellow. When we do first, here's I need a little spot to put the yellow into. So really easily to do is add some water to our tray and you can clean a little spot right out for yourself, going into little lemon yellow. Let's get ourself a nice little puddle going on here. I want this quite light. You don't need it. Rural breaks. We're going to have any other colors on top. It gives it a nice, sunny glow. And let's grab our test paper again. That looks good. It's a nice light yellow, and we're gonna go ahead and start just like we did on our test piece. Her demo. I wrote the same thing here, tapping in that yellow, leaving ourselves a little bit of white space. Don't worry if those white spaces go away because we're gonna add the wash on top, which is nice and bright white. Maybe a lip still poppin Cem roses in there without a problem. If you can just kind of leave yourselves a nice light, lighter areas, Makesem makes them pop a little bit more. Looks more like natural light. So we've got a nice layer of the yellow down here. Let's go ahead and rinse off my brush, get a little bit more water here and go into our sap green. We're gonna make that nice lemon lime color. And don't worry, for colors are not exact to mind. You just really want to make sure that you've got a variety of shades. You have that green and the yellow, so whatever colors you come up with will be just fine. Can test it out. That's gonna be good consumer. It's nice and wet, so that kind of blends nicely in here. And let's go ahead and tap that in there. Right on top of that, what color yellow that we have because this is quite soft, trying to leave some areas with just the yellow showing again and get a nice little about of great in here. You could see how that just kind of disperses right into that yellow. So let's go ahead while this is still damp and we'll make ourselves another darker shade of that sap green. You could always use your test paper if you need to, if you're unsure about it, or just tap a little section on the bottom corner, something that you can cover later. But as I tap it in here, I mean, there's really no right or wrong. You don't have to think about this a whole lot. Just give yourself some areas of lightness and darkness, going a little bit darker again, adding a little bit of that meridian. And because again the background is very wet. Some of this will just kind of blend in and will be quite as darkest. This you could say it's already starting to disperse a little bit, and if you find your your papers too wet and your colors air really blending in too much, you're not get getting that variation of color just give yourself a few minutes, let the paper dry just a little bit, and then you can continue on by adding in your colors. So we're gonna go with that really dark shade. Now we're adding a little bit of the blue and the dark brown a little bit of the Verdean green to get a nice rich of a pine tree color here and those leaves. Have you ever seen the Roosevelt goes? Is there very leathery there really rich deep color and tapping that on here? Everything is still damp, and it's still dispersing here. We will add some more colors to this later, and that will give us a little bit more definition again. This is just a wet on wet technique, and we're layering these colors to give us a nice variation of shades in here. And so this one is almost dry. The demo and you can see how it looks kind of blurry, and it really gives it a nice soft background. So we're gonna go ahead and grab. Ours are small brush, and we'll do a little bit of the grass grassy areas here 10. Painting the fence: All right, So let's continue with our layers for our beach roses here. Now, this is not dry, these air still damp. So you want to move fairly quickly from our last lecture that we just went through. Now I switched to my small brush and I've loaded it up here with some more of that darker green. And I'm just adding just a few little sprigs of grass in here. I remember, as in our demo piece that we did. You want to go very lightly on this pressure at the bottom and then lift up and you come up so that the tip of that grass plead is very fine. And if you're having a hard time with this size brush and you find that you need to get yourself a smaller brush, feel free toe to do that, if you get a very fine over zero or number one, they find that a little bit more helpful. Feel free to do that. This one's fairly thick, but if you use just the very tip of it, you can get that real fine line still. And as you as you know, if you take another other watercolor classes with me. I try to do everything with just basically two brushes to make it easy Cost effective for for new people just starting out with watercolor. So I'm mixing up another darker shade here, and we're gonna continue to do the same thing. Now, a lot of this is gonna blend in so you'll lose some of the sharpness of your strokes. They could see where it's dry. It's gonna be more defined, but where it's wet, it will still blend a little bit. So it softens those. So we're gonna add some more texture down on the bottom here as it starts to dry. So now I just switched over and just taking the tip of that brush and just kind of dotting in some darker areas again. We're just kind of building this slowly. We're giving it more, more depth each each layer that we dio again. I'm trying to follow the darker areas trying not Teoh get all of these little spots here with a real light yellow still showing through a couple more little blades of grass in here and more dotting as I say Dots, I don't mean toe, you know, little circles dot dot dot is more of a tapping motion that I'm doing with the with the top of the brush here. So again, unless you think about this motion that you're doing, the more random it is for all this type A personalities, we want to just, you know, do dot, dot died, and we try to make a pattern out of it, and you really don't want a pattern. You want this to be quite random, and if you have to look out your window and check out the trees, it leaves outside. If you have any, and you can see how the light reflects on areas, and then you've got the real darker colors that are underneath, where that light's not hitting and very random. If you a little bit more blades of grass were just kind of building that. The other thing with the grads make sure it's not all going in the same direction when that winds blowing that grass is moving back and forth and doesn't all go the same way and is continuing to dot and get some darker shades in here so you can see the difference all those layers have done. It looks better and better with each one that we put down. And it's so much darker now. How light it wasn't. We first started out with that real light yellow with lime green, and you're probably thinking to yourself, Oh, my goodness, this is really strange looking. This isn't what you know what looks like. But once you build all those other darker areas of color, it looks more realistic. So let's go ahead, and we're gonna do another practice session, adding some more details to our ocean. And so if you can grab that piece of demo paper that we did the sky on will use that. 11. Practice wet in wet layers for water: case, we're gonna do a practice session, adding some details to the ocean and see, I still have plenty of blue left in my little palate here. It's still actually wet, but you could always reactivate the paint that you have in there by adding some water to it . So you never throw your paints away. They're always usable, and I just add a little bit of that dark brown to against. I want a real deep color and I'm tapping off the excess because I don't want a lot of pain on this when I go ahead and add this to our demo piece here, So first thing I'm gonna do is just kind of dark in that part where the sky meets the water . It's using a little bit darker back there so you could see her. I've just trying. Teoh put a little bit of the blue in skipping areas again, like we did with White because you don't want it solid. He wants us to Do you want these? They're just gonna be your little waves in here. And then if you find that your line is a little bit too dark, you can soften it by adding just a little bit of water to brush, and you could see here. I'm just kind of blending those lines a little bit and softening those. So they're the edges aren't quite a sharp, and you could see the difference in the color, even though it's the same color used for both of those. Because that background are underneath, color was different. It looks different on here now. I want to grab some of the white wash, and this is non transparent. So again, I'm using this in place of using a masking fluid so normally you would leave an area white by masking it off. But the white is opaque and it will actually cover up or go on top of you're watercolor colors, and it will also blend a little bit so you can softens and areas if you want to change the color. The great thing about Go Wash is that it does reactivate with water, so it's similar to a watercolor in that respect that you could add water to it and he could lift it out so you could see I just tapped in just a few little waves here and again. If you get too much of the white on there, it's too bright. You can go ahead and soften those as well by just adding a little bit of water. You could see all that does is just slightly lighten that blue. Let's have a little bit more to that. So just dampened my brush again, tapping off that excess, picking up a little bit more paint and going ahead and putting some waves back in here because he has skipped a certain area is just kind of dotting as I go along the way and don't need to go to heavy handed with this. What some people want to do with waves is make that little V shape, you know, like a wave. But if you look at the ocean from a distance, all you see is a little white little white specks. There are no V's until you come up real close so you could kind of play with us, see how you feel about the white. Use a smaller brush if you want. If you want a light in an area like I'm doing here, I can add morgue wash to that and blended in a little bit so it gets some highlights in there. But it feel like a heading of highlights that want to straighten that line in the back where it's maybe a little bit off, not completely straight. You can do that, and you could also do with this drying brush technique, which I'm just using paint tapping off the excess, my brushes really wet and it's almost a scratching motion, and that will give you some nice little highlights in the water as well. So I'm really pushing down hard on that brush, almost flattening it out. They could pop a little bit more of the waves on top, just little tiny dots on there. So it was illusion of waves from far away. Really, You could kind of play with us for some time, go back and forth. You could add a little bit more blue, too, if you want. But just get comfortable with that practice practice and then when she have practiced someone you feel comfortable ahead and will start the layers on your actual painting. 12. Creating waves: very ready to add some ocean waves and some details to your painting and then rinsing off my little brush and going into this blue color again that we started in our dough. Nice and rich color you can add maybe a little bit of the cobalt, a little bit of teal or Freddie in with it. You just want a nice dark blue shade and you could see how light my sky is, How like my water is. So you don't wanna you don't overdo it. You could always lighten it. So it's everything you have to be afraid of with watercolor, cause you could always lighten your shades if you need to. So I'm gonna go ahead and go across my horizon line. If you remember when I first did this, I have had a little bit of bleeding in the water line there. So just kind of softening that up a little bit and adding a little bit of that dark blue throughout my water. And as I get closer and watering it down just a little bit more, maybe a little bit less of the paint. So this is where my beach line hits, so I'm just kind of following along this area here and we're gonna go ahead and put some wake washing their for more waves. Once this tries, it doesn't take very long. And if you're unsure about that, you want to do this. Wallace's wet is a great time to do it as well before it drives, because you can always blend it out if you want to. Let's go ahead and give it a shot here, so I'm loading up someone just on the tip of my brush. A brush is just very lightly damped, tapping off some of that excess. I don't want a lot of white on here quite yet. Now this is still damp back here, so let's just go ahead and pop just a little bit. See how those look like little waves back there in this little whitecaps? We'll throw some more in there and anywhere. I have the blue. I'm trying to hit the tops of them cause that's where the White Cap would show. Maybe a little bit in here begins topping somebody's little edges. I was just about playing and like we did with the beach roses here, you want some light and some dark. No, right or wrong with us, they get going on, I get less. Ah, nervous about where we're gonna put it and just kind of go go for it. The end little scratching technique. And this will give us a little highlights on the water. And you will find, too, that if you have none of water on your brush, that white starts that is very bright white. And as it starts to dry, it graze a little bit or picks up some of the blue tones underneath. So you may find that you have to go back in and add a little bit more on top. Do you really gonna have to play with it and get to a point where you're happy with it? It's always the tough thing. Is artists? When are we done right? Sometimes I have to put mine down, walk away and come back to it. And I have a better idea of I'm done or not a little bit more scratching in here, getting a few more highlights in it. Let's go ahead and go back to the blue again. This looks pretty good the way this is very soft looking very light, Mary, when a little bit darker shade here just so you can see it again. This is all about you. So if you want to keep this nice and light, you can do that. I want to try to go under the underneath of that blue now and right along again the Sandline, just to give myself a little bit more definition. In here I am. I tend to paint darker than any lighter. It's a lot of watercolorist or very light and airy, and I like to do lots of layers and some a lot of darker shades on mine. So remember, always do what you're what you're comfortable with and with what you like. That's what Art's all about, right? May I have the beholder? So I'm adding a little bit darker again to my my blue here, having us the extremities of black, and I'm gonna put just a little bit a rock in here cause on Main, we have a lot of a lot of rocks in our coast. My favorite beaches read State Park. If you look that one up, it's absolutely beautiful. It's very rocky, and they just kind of pop up through some of the sand areas, so I've got just a little bit in there enough. I water this damn a little bit from a lightened that up and give it a little bit of a shadow on the underneath of this rock, and this is still west. He could blend that in there, and I can add some more dimensions, almost looks like it's wet and that Sanders a little bit darker, where it's a wet. So underneath the rocks, giving a casting a little shadow under here can very wet. Very light doesn't have to be real dramatic in there is just a very soft color, no clear brush. Go back to the white again, we'll add. This is dried a little bit, so we're gonna add just a little bit more that white in here and I could see him trying to angle is because you really where the waves come, it starts out straight. Going left to right in the back section and as it gets a little closer to you, is as waves kind of crash in towards the shore. It could change the direction of those waves a little bit, so it's kind of coming in a angle as we get closer and closer to the shoreline. Manning just a little bit white here. So it looks like these waves. We're kind of turning in towards us now, in a couple of more white caps back here trying toe, Get too much water on this because that white will will dim more blue than white. You know, it looks really white, bright white now watches that starts to dry. It starts to, as I've said before, starts to soften a little bit. If you want to add a little bit highlights, you could blend a little bit of that in if you probably got too much in there again, it's often that I'm trying to bring this sharp edge or sharp line at the horizon again. Almost looks like there's a little islands back there, but their art in my little picture in my brain here. So I'm gonna go ahead and just dark. It's a little bit here, and I think I'm gonna add some white just to soften that edge just a little bit more, taking just a little bit of water, kind of straightening it out again. I need to come up just a little bit higher there. Where that had bled earlier. We're doing the sky. It really looks like I have islands back there. Just keep softening that little bit. Yeah, Now lies in wait to that. That's just a little too dark for what I like. All right, so they were good. Will let that dry and see how it turns out. And next will be adding some roses to this. 13. Painting beach roses called rosa rugosa : All right, So we're ready to start our beach roses, also called Rosa Ragusa, And you want to make sure that your greening area and yellow are completely dry before you do this because you don't want your whitewash to pick up any of those green undertones. Here's a little fun. Fact Rose over Gaza is notable for its rough leather early leaves, which up it conserve the water in the dry habitat. So it's usually they're usually found in coastal dune areas, which we have here in Maine. Let's grab our white wash, and if you have a little area Teoh put your quash without putting your hands in it. I always use my tape cause I don't use a whole lot of it. But you can also use obviously a little, uh, paint palette for this is well and you're just gonna use your little brush here and we're just gonna tap in some areas of white where our roses would be. Now you could see that these air not a perfectly round shape that I'm making here. If you think about the petals of a rose, they usually expand their wide open for the rosary. Go PSA and supple from our close. So you can have, you know, different shapes for these roses. So I'm just kind of dotting very randomly these air at a distance. So they're not gonna be very a detailed. If you like a lot of roses, you could go ahead and put a lot of roses in your painting, and you could see that I'm trying to do this very randomly. I'm trying not to put all of the roses in one place and give it a less unified look. Now I'm gonna go into my red or lizard crimson here, and I'm tapping off a little bit of the extra. And my gosh is still slightly wet. So you will see that some of the areas where they touched down this red turn pinkish, which is what I'm looking for, cause he's on a real deep color Red rose there more about kind of a pinky type rose. They do have white ones as well, so I'm just go hang and tapping in the red on top of some of these colors, blending a little bit in some areas. I need to soften the edges just a little bit. I think They're just a little bit to read so that wash underneath that can really reactivate it here and lighten these reds to a nice light pink. It's nice to have all those different shades in there, though. You don't have all the same color. Now I'm just got some Washington pink on my brush stills. I'm just adding fuel extras here and there. They're not as bright to kind of more muted. So there looked like there may be a little under the grass, grassy area a little bit and there you have it, natural little roses. So next we're going to start our fence area. 14. Adding the fence: all right, So it's going to our next section, which is going to be our old weathered fence that we have. So I have my blue here that I had made a mixed up a while ago and two that have had a little bit of that dark brown or burn number, and I'm adding a little bit of that white wash to it to make it a nice soft gray. And you will see because we have the squashing here. It's more opaque, so you can basically paint right over that green. The key to it is try not to get too wet and try not to go over too many times because what will happen is it reactivates the green underneath and you will end up bringing some green into your gray area here. So if you find yourself doing that, go ahead and give it a quick dry again, and it could go back over it with the with a wash in the gray mixture that you've made here . So I'm just kind of thickening these up a little bit Here. I remember these air old and weathered, so they don't have to be perfectly straight. This gives it nice character. Actually, the less straight they are look like they've been out here for years. All the storms that we've had and no heat in the wind and all that good stuff. So just trying to follow those pencil lines that we had drawn in earlier, and hopefully you made them dark enough so that you can see them. But if you did not, there's really no worries. You're just creating some lines and you're making them a little smaller is they go off into the distance. It makes them look like they're further away. The smaller they are. And you can see I'm not making these, you know, straight up, another kind of coming at an angle. And then, like I said, before those, there's Ah, fence pieces are not perfectly straight. Don't worry about the roses. If you have roses in there, you just kind of go right over on top of those. Just get the little stick here at the very end, so that one's kind of over the hill you could see down here. I didn't have that perfectly straight down there. But remember the grasses growing through these? Andi, some of this will add some grass details to the bottom of those as well. So if they tend to dry a little light for you, you can go ahead and go back in and add a little bit more the darker grey. To this. The variations of the colors is Ah, plus. For this you don't you don't really want a solid color for this, so it's good to have a lot of different shades and values in there. It makes it look more realistic. Right will be moving on to some more fence details after this. 15. Creating fine lines for the wire: All right, So we're gonna add in the wire railings, and the birds too are painting here. So I'm gonna be using a Sharpie. If you have a very fine tipped brush, you can also use just black paint. Tree could mix up some black paint for this using ultra marine, blue and burn number. And I'm just following those pencil lines that I drew in here initially, you could see how squiggly I get with my my lines here. Remember, it's a wire, and these things are not straight. And as these come in further away, they're gonna look like they appear closer to each other and go right down to the very last one. Now, I'm just going to a little cast of shadow here on this to give it a little bit of texture most like It's old wood in here. I'm just kind of skipping a few little areas in here, so I don't have a nice straight black line on here, and this is something that you can choose to do or not to do. It's totally up to you. The blackest, quite stark, but it really gonna make sees pop right out. So now I'm just a little bit of black. And here, for some texture, looks a little bit like a wig. Grain. If you find that you go to heavy handed with this, you could always take some, like, wash and go right over it again. So a little goes a long way, and I'm going to go over the tops of these as well, just kind of shaping these in, and that's all there is to it. So let's go ahead and do some little bird will practice on our paper here and there, almost like these little V shapes. Remember, you want to make him fairly small cause these air flying often distance in the sky, they're not real close. If you get a little nervous, you could always go ahead and do this with a pencil first just popping in just a couple little birds in there. And if you wanted to detail just a little bit with the rocks, you can add a little bit of that in there as well. So our final steps air coming up next 16. Adding just a few final details: Are you ready for the final steps? Just a few little more details. And I'm going to be mixing up some more of the sap green and a little bit of the ultra marine blue here and also some burn number that will give you that nice, rich, dark green. We want a rural dark one for this. We're just gonna pop a few more details in here for the grass area now. It could have just added a little bit of water to that and reactivated the color, but I wanted to make sure it was nice. And rich is, by adding water to it may have diluted a little bit too much. It's just going and putting in just a few more sprigs of this wild grasses. It's blowing in the breeze here on this beautiful, sunny day and going to put a little bit of extra grass down here by the bottoms of these fence posts and more up on top here. Like to get a few these taller sprigs and here, just a few hours to a whole lot, again trying to that's looking motion, trying to keep those fairly light at the top. When I lift off so that they're skinny up there is the blades of grass or riel narrow but the top, that girl at the bottom, thin at the top. Just putting in a little bit more of that really rich looking green here. And that will give you those nice, shaded areas where those dark leaves are trying to scoot in around those roses a little bit . We don't want to cover those up, and you can see it just using the tip of that brush and making more of a dotting motion than anything else. A little bit, just a few little spots in here where it's real light yellow, really make some pop even more. If you're not a paint, you can mix up a little bit more if it starts to dry on you. I really need a little bit Richard Color, you can add. It's more of that pigment, and this is just where you kind of play and get it to where you are happy with it and just kind of play a little bit doing the finishing touches here and we're ready to put him out. I think we're done well told this up for you. And here's a close up. So let's go ahead and sign our names. I'm using a black Sharpie just putting my K chassis on here. And I do have a section in here, a bonus section on framing. If you'd like to see how I framed my work, it's on a winter scene than I did a little bit ago. But I thought we'd add that as a bonus section for you. And I really hope you enjoy the course working on my next one as we speak. So check back with me. Thanks for joining me. 17. Bonus Lesson Framing Final Video: so we'll need a few things for framing. Will need a backer board and, of course, your picture a frame. And then I'll have a list at the end here, with all of our tools that will need, um And also, of course, your frame choices an eight by 10 for this particular one. But you can use any size in the same thing. Um, and then there are a few different tapes that you'll need is well, so let's get started here with our arm. Adding, what we want to do is first just kind of adjust where a picture is going to go. And I've got this perfectly set into an eight by 10 map and then I have some artists tape and what I'm gonna do with this just kind of peel off just a couple little pieces here and I'm gonna fold this underneath, tuck it in under here, and just give it a little tab so I could get that stuck down onto my backer board. Do the other side as well. This is one of the toughest things to do. You going to try to line this up with your, um, your mats and you're backing, so you just need to adjust. Were ever You need to I want to get that. I think that's pretty straight. And then just match up and make sure that your mat well fit over the top of that. All right, so now we're just gonna set that aside, and I'm going to grab the mat again, and we're gonna use some double sided sticky tape, and we're gonna take this Matt down to the backer board, And this way, it's not gonna actually stick to the painting itself, will just have it on the edges of the mat. So if anybody ever want to change these out, they can easily do so without damaging the painting. Make sure it's all taped down there real good. And then we're just gonna peel off that back edge of the double sided tape each side. Careful, not toe lift any of the sticky tape. We want to keep that down there, and sometimes they're hard to gribble edges of these. It's gonna get your nail into their poll. So are you can see where the tape additional shiny hair. We're gonna grab the backer board again, and we're just gonna line that up. Be careful here, because when she put it down, it will stick and you can't adjust it, get it right where you want it, and then you can push it down when you're happy with where it's at. All right, So what I'm gonna do next, we have our matting already to go. We're just gonna clean our glass on a frame. Really good. Make sure you get all corners and edges and you just don't want to have a little streaks of little fingerprint thumbprints. All that good stuff once you get this all together. So I'm always double checking before I do my final seals here. I'm gonna flip it over. Get the other side as well. Make sure you get your edges. You can use really any kind of glass cleaner with this double. Just get the other side as well. One last before I place it inside. And I'm just double checking for little smears. Bring my frame over and we'll pop the glass right back in here and again. It's double check. The rest of those was once this the backing Zeldin and seal that you cannot you cannot take . Take it apart again. Toe fix these smudges without having start over. So I'm just gonna take our painting, and I'm flipping it over and adjusting it in here. You can see I have little tabs on this one. I'm just kind of pushing him down again. Double checking. Making sure there's no little hairs or fuzz is, er who knows what gets in there? It looks good. So now I'm just gonna flip it over, and I'm going to push down the little tabs. Now, this hurt your fingers. What I've done before is got myself a little butter knife. Or you can use, um, a flathead screwdriver just to help push those down. Then again, I'm checking to make sure everything's clean in there, and it looks good. So now we're going to start with our, um, our backing. And this is just a linen acid free backing. You can get these usually at any stores and craft stores or art supply stores. Then they usually coming rules. And again, we're going to use our double sided sticky tape here, and I'm just gonna put the double sided sticky tape down on the back of the frame. And I'm trying to give myself a little quarter inch away from the edges. And this is for when I actually do the trimming or the cutting, and you'll see that coming up here. We're gonna put that tape down on all four sides, get a little overhang there. But we can trim that up in a few minutes in the last one here. And make sure those air pushed down nice and tight on their You don't want that toe come loose on you. And there's a little tab. I'm gonna just kind of trim these off here. We'll pair of scissors and snip those a couple other little ones on the corners. Here. You can get those. All right, on, DNA. Now, we're gonna pull off the tape once again here. One more from that one up, Andi. Just making sure those air down nice and tight and I'm gonna peel that layer of the of the tape off once again. Began there. Sometimes a little hard toe to get going. But once you get your a little male under there, you can kind of pull it out. You're just gonna pull off each one of these again, making sure that you don't pull up the tape as you're pealing off that the top layer. Right? When I grab this last little piece here, pull that off and then I'm gonna take, um, my rule of dust cover paper, and we're very careful here. I don't want to touch the tape yet. I'm just gonna kind of pull this on over over the top here without touching it, being very careful. And then I'm gonna lay that down on top here and very carefully make sure it's nice and smooth. Kind of pull that little tight, and then I'm just gonna push down on this tape on all four corners here, make sure we got that on there. Really good. And then I'm just gonna take increase all four edges here, and this will make it easier when we go toe to do our charming with our cutter. Did you have a nice, sharp, clean edge here and then we're gonna just take off this excess here with some scissors? Just cut the cut. The top of this right off. All right, so we're not gonna throw that away when say that piece for a minute, and I'm just gonna once again, Just kind of tighten up these edges, make sure that they're nice. And Scharping and clean. This will make it a lot easier with her cutting tool. So ready her cutting tool and these can be again purchased anywhere. I got this one. I think, on on Amazon. It's got a little blade on it. And you just had to be very careful in you. Line it up here. You're just going to kind of push down on that bleed. Watch up for your fingers. Dangerous with these things. It is going to give it a little light pressure and look hot rate through that. And you're gonna do this on all four sides. Say, I skipped a couple spots here, but you just kind of go back and kind of clean that up again, right back over it. Just make sure that that's down again nice and tight on the tape and just pull it all the way down. It's our last cuts and I were just gonna peel it off. It should come up very easy for you. The tape shouldn't be underneath where that is. If you put it close enough to the inside edge like is a nice clean look. So once again, I'm just double check in and making sure looks good. Make sure that tape is all their role while nice and tape down. And we're gonna move on to our little hooks. Andi, we're gonna It's wrong way. Flipper. L Nerio were just the's in about about two inches or so. I was gonna kind of lineup eyeball, and I think they look good there. So I'm gonna get my little ruler here and come down two inches and just make myself a mark right here with a pencil, Do the same thing on the other side, down two inches and make myself a little circle. And this is where and a little islets hold are gonna line up for me. So I can my screws in there on both sides of nature that they're nice, and even I have Ah, well, little screws that come with it. And when I grab my drill here makes it much easier. You can use a screwdriver, but, um, I highly recommend it. A power tool. Just get that in there, and we're just gonna drill those down in there. A little pressure. It's not getting in there real well, sometimes some of the woods for the frames a little harder than others. And I'm just gonna just this down just a little bit that moved on me. And then we're gonna go ahead and do the same thing for the other side here, Only justice again and keep moving on me. Yeah, we'll get this one screwed in there too. You can get it, Aereo. Okay, so those air both in there nice and tight, it was kind of pulling and make sure they're good, and that will be ready to with some, um, hanging wire on here. And I'm just using a This is a soft strand, which has, like, a plastic plastic coating around it. So you prick your fingers. What? You're trying to do these? I'm just gonna measure up just enough on each side. So I have a little extras, will be able to wrap these around, and I'm gonna cut this using a, um, a wire cutter. These things are great. It's a Leatherman that have been borrowing from my husband. It works so much better than what I have been using before. So we're just gonna slide these through on both ends, and I'm gonna tighten it up. Try to get it is even as I came on both sides. Pull it nice and taut and we're ready from here. It's start with one side and we're gonna make a loop entire little not in here on pull tight. And then we're just gonna wrap this around and keep going all the way around here trying getting it as tight as I can. Looping it doesn't want to stay in here and keep going around air. Just take this all the way up. If you have fun, you have too much, uh, wire hanging out the end. You can always shorten this a little bit if you need to. I think we've got a pretty good amount here. Other side I want to stay in. So we're just gonna work with blowing out here, just kind of tighten it up around and push it down in, and then we're gonna do the other side here. So again, slide it through and you're gonna tighten it, and you're gonna make a little not here. And this is a very light frame, so you could always double that will not at the other end as well. But this isn't a real heavy frame, so this this will this will be fine. We're just gonna again wrap the stainless wire around all the way going with it, and again feel free. If you need to trim some office, give yourself enough loops around here so that it has strength to it. He's gonna continue to wrap that right around you Could you'll find that with some of the bigger frames. If you want to leave yourself a little extra wire, you can do that because these could be adjusted if they need to. May. If you have, um, have it to higher to lower, going to adjust for your nail. You could do that. So I also have some stickers here and these air stickers I had printed up my local printer and I'm just gonna put those on there and then also with that extra piece of, um, backing that we have is gonna cut a little square up here and we'll rectangle and this just makes a nice presentation. If you're giving this away as a gift to someone, you could have a little nail on a little hangar to it. And that way, when they get home with it, they can just pop it right into the wall and hang it right up. So I just put those in the middle and I just kind of wrap it up a couple of times, make like a little envelope shaped for it on. We're gonna just take this and we're gonna just wrap it around the wire, and then I'll take some masking tape and I'll just attach it right to the backing wire. Here, just pull this over. Grab will grab some tape. That way it won't fall off. It's taped us up around here. Andi, they are ready to go. Hang it on. One last little final touch would be have these little little rubber silicone, self sticking self adhesive. And I'll just pop those on the bottom corners. Each one of these And this just helps. If you have something against leans against the wall, it won't scratch Your wallet gives it a nice little soft surface. And they have little felt ones of these as well and push down hard on those. And there you have it professionally framed. Well Ah! You ready to hang on the wall