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Brilliant Metallic Watercolors

Blick Art Materials, Artists Serving Artists

Brilliant Metallic Watercolors

Blick Art Materials, Artists Serving Artists

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7 Lessons (50m)
    • 1. INTRO

    • 2. Exercises

    • 3. Floral Painting

    • 4. Calligraphic Strokes

    • 5. Writing the Alphabet

    • 6. Citrus Painting

    • 7. Floral Wreath

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About This Class


Paint modern calligraphy and bright botanicals with a metallic twist! In this class you’ll learn basic brush techniques, hand lettering, and watercolor strokes, then combine your new skills to create two frame-worthy works of art. Dive into watercolor painting with this step-by-step tutorial, perfect for beginners!

Click the link to purchase Workshop Materials! Brilliant Metallic Watercolors Project Materials Bundle

Workshop developed by artist Jess Park.

Jess Park is a California-based artist whose free-flowing watercolor techniques and modern calligraphy work is inspired by the colors and shapes of beautiful objects in the world around her. Jess enjoys teaching and encouraging budding artists through workshops conducted both face-to-face and online. She recently authored the book Watercolor Lettering: A Step-by-Step Workbook for Painting Embellished Scripts and Beautiful Art.


Check out Jess’s work on Instagram and Facebook.




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Blick Art Materials

Artists Serving Artists


Hello and welcome to BLICK Workshops!

We’re excited to introduce our fun and creative workshops for you to try at home. These easy, step-by-step instructional workshops have been curated especially for use on Skillshare and offer many paint and medium techniques or processes that are perfect for anyone looking to try something new. Everything from metallic watercolor to cold wax oil or acrylic painting, resin, paint pouring, and more, we have a project that's sure to inspire!   

We also offer hundreds of projects at For more projects and inspiration, follow us on Instagram, Facebook, Twitter, YouTube, or Pinterest.

As a leading art supply company, BLICK is proud to support artists at all stages of their artistic journey. ... See full profile

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1. INTRO: I am just park. I'm a watercolorist and calligrapher based in California. One of my biggest passions is teaching, So I like to teach on my instagram and in person workshops and also online workshops. And one of the biggest things I got to do was to publish my own book. So I go over watercolor. I go over lettering, and that's basically what we're gonna be doing today as well in this workshop. So I'll be going over with you the different materials. Ah, we'll be talking about mark making and the different things that we need to create these different pieces of art. And I'll also go over with you the calligraphy strokes that we need to create letters and words as well. So let's get started so or want to talk a little bit about the care of the brush before you get started, you always want to make sure that you prep your brush. When you buy a brand new brush, you'll notice that has kind of like a little bit of a residue or a glue that's in place that holds the brush hairs in place, and they do that to help it keep its shape when it's being transported, so you want to make sure that we wash all of that off. So you just run under cold water and just gently rub it with your fingers. And this is really the only time you want to be touching the brush hairs. We've got some oils on our fingers, you know, we put lotion on and all of that, and that really can affect the absorbency of the brush over time. So make sure you're not touching the brush hairs, so the next thing you want to make sure not to do is you'd never want to immerse the brush past the Farrell. So right here the Farrell is held in place with glue, and any time you get it wet or have it soaking, then it can actually break down the glue, and then your brush can come apart, which we really don't want. So whenever you're dipping, you want to make sure that the water level doesn't go past that, and the next thing you want to dio when you're cleaning your brush is when you're all done painting. You just want to run a underwater, make sure it's not too hot or anything, or you can just swish it in a glass of clean water, and then you want to reshape the hairs, and they you just lay it flat. When it's all dry, you can go ahead and start up right. If you store up right before it dries all that, that water that's in the hair can actually seep down into the feral. And again it would break down that glue and then a break apart your brush. The first brush I want to go over is the oval wash. We also call it the cat tongue, and it's a flat brush and you can tell by right here the federalist crimped flat, whereas in a round brush we've got the round Phil here, and so with a flat brush, we generally use it for larger washes. But what's unique about the Oval wash is that it comes to a point so we can use that tip for details. We can also push down on the brush to create different, unique shapes, which is great, and then the other Russia I want to use is the Round six fresh, so we'll be using that today. It's a very versatile brush, you can use it for details. You can use it for calligraphy. Um, and you can also just use it for, you know, painting smaller washes, which is great. So the next thing I want to go over is the paint. So we've got the fine tech metallic watercolors so here and comes in a set. But you can also are just each color separately. And the great thing about this is you can take out each of the colors, which means that you can pick and choose the colors that you want and customize your own palette. The thing that you really want to make sure that you do before you use this pain is you have to wet it. So this is a little bit different from other watercolor, where you actually need to wet the pain and let it sit for a little bit, and that can start to reconstitute the pain, and it creates more vibrant colors. And so what I do is I use a spray bottle to do that, or you can also use something like a pipette, get some water and put a little drop in each well. And the third thing we're going to use today is the far Briana Black Black Paper. So that's 100 £40 paper. It's actually mixed. Media seat can use it for a variety of different things. Today will be using it for painting. The great thing about the paper is that it's got a nice and smooth surface, so all those vibrant colors and the metallics will really shine. And then also you can use the reverse side. So that's a great thing about this paper, cause you can't do that with all watercolor paper. 2. Exercises: So we're gonna go ahead and start with Mark. Making mark making is a great way to get familiar with your brushes and their unique capabilities. So Mark making is basically what it sounds like. It's just making marks with your brush. As I was mentioning before, you always want to What? Your paint. First. I'm just gonna take this pipette foot with some water. I'm going to start out with the Princeton awkward elite Round six and I'm gonna show you different ways. Teoh create lines of very thicknesses and we're going to start by changing the angle on pressure of your brush Going to start out with the blue here. So you want to kind of the consistency of cream, and that's a little different from water color. You want something thinner with watercolor, but with fine tech metallic paints You wanna in a thick consistency so that you get, um, nice, vibrant colors. So the first thing we're gonna do is start out by changing the England pressure of our brush that we'll start with angle. So you'll see that if I use my brush up right here, just like that, I'm going to get a very thin line. And so that's what's great about this brush is that you get very, very fine detail. But if I change the angle of my brush and I am using it more like this, I can get a thicker line and you'll notice that it's really absorbent. Um, you can see that there's lots of paint still on this brush, and I'm going to go ahead and change the angle even further, going to get an even thicker line. So we're going to repeat that same thing. But this time we're gonna do it with the oval wash. You see, you can get a really fine line there. And then if I change the angle and I get a little bit that girl line and then flat against the page, I get uneven, thick girling. So we're going to go ahead and create varying thicknesses now, by changing the pressure of the brush and I'm sticking with the oval wash here. Okay, so let's go ahead and change the pressure of the brush, so I'm going to go ahead and start with light pressure, then add pressure and just all attorney as a moving towards the right side of the page, then I can create these swells. Now you can do that more extreme, and it really is about the amount of pressure you add. Okay, We're gonna do the same thing, but with the ground brush. So let's see what the round brush dio. But it's the same thing. Light pressure to have your pressure. We're just pushing down to that hell of the brush. The next thing I want to show you is to change the angle on the pressure together. So this time, not only am I gonna add pressure to the brush, but I'm also actually giving it a little bit of an angle by pushing towards that way. So what, You're gonna end up with IHS little hills rather than swells so you can see that the bottom of the hill is straight and then the top, you've got a little bump there. And if I push it this way, it's that same being but in the opposite direction. Okay, so we're gonna go ahead and repeat that with the overwash. So it's the same thing. You're just adding pressure to one side, and what that does is it creates a flat bottom or a flat top, depending on which way you're adding the pressure and the angle of your brush. So the reason that I was teaching you how to do that is because this is what we used to paint leaves. So when you're painting a leaf, these air, the exact strokes that you want to use. So the first thing you want to do is create a little stomach for your leaf. I'm going to do that by painting a thin line using the tip of my brush here. And then I'm gonna go ahead and at the sites of the leave just by adding pressure one way and then the other way. Now, don't worry if you aren't getting this or if I'm if you feel like you're moving a little more slowly, I paint very quickly. And this is just the modern, loose style of painting that I'm doing here. Okay? And I like to leave a little space. You're just to kind of signify vein or the stem of the leaf. So we'll do that again this time. Maybe with two years got a stem there, one there on. I think that and come down this way as Well, if you like, and you can see that that's basically the shape we're painting with. Or I can do it all in one stroke just like this and just do the one just like that. So I'm going to show you the same thing. We're gonna do that with the oval wash, and the oval wash is great because you can get different angles of the leaves. So if I paint it like this and use the side of my brush first is if I do it like this and then use the flat part of my rush. So again, I'll show you one more time. So this I'm using the side of my brush here and I'm going like that. It looks almost like a folded leaf just like this. Or if you paint flat like this, then it's more off head on type brush if you're looking at from the top down. So the next thing I want to talk to you guys about is speed, so you can change the speed of how quickly you're moving your brush, and you don't really need to get enough paint where it gets to the heel of your brush. In fact, I don't recommend doing that. You just want a wet it until it gets to the belly of the brush. Okay, So making a slow movement just like this versus something more quick, You can see that your lines become more tapered and you get a little bit of texture and you can also move in the down direction as well. And I like to use this type of stroke when I'm painting grass. So when I'm painting grass, I like to use quick upward strokes and in little different directions. Just because grass doesn't always grow the same way different links as well. You can see that it starts to look like west. And the last thing I want talk about when it comes to Mark making is just movement and the way we kind of touched upon this on the other strokes as well. But you can create different curves and ovals by moving your brush, and as I'm moving my brush, I can create different strokes, so that might be something like a pedal. You can create different see curves, and this is a good one that you want to know how to do especially when you're painting things like flowers or roses and see what your brush conduce, Okay. And so I might use this when I'm painting things like Berries. So to paint of a branch of Berries, you first want to start out with the stem. Okay, so maybe I've got some Berries looking like this, and you could also paint flowers like this and we'll go over step by step details on how to paint these things, but just showing you different examples of what you condone make just with those strokes. So we're going to go ahead and repeat that. But this time we're gonna do it with the oval wash brush. So it's same thing you can add some movement into your brush strokes, changing up the pressure. So it's almost like we're just kind of incorporating a few things that we talked about earlier with the pressure, the angles there, that looks like a pedal on its own to maybe painting some circles. And so when would I use that ISS. When I'm painting something like a rose and you can see all I'm doing is using the scene curves and there's my roast 3. Floral Painting: So let's go ahead and move on to some flowers. So we're going to start out with the lavender, and the way we're going to do that is we're going to use the tip of our brush to paint the long stems of a lavender. And we're using the round six, by the way, and then we'll be using various different angles to create the flowers of the lavender. So I'm gonna go ahead and pay three stumps here, and that was just with that turquoise green color. And the next thing I'm gonna dio issues the blue and the purple gonna actually paint each of the little flowers of the lavender. And we just do that by just dabbing. And then, as after you've used a certain color once, Then go ahead and add, like a little bit more of the blue or a little bit more of the purple. And what that does is just adds a little bit of depth and interest to the flower here because if you keep using the same color, it just looks like a little blob. Think about what direction your stem is going, and that is also the direction you want your far to be growing in. Okay, We're gonna let that dry. And it was It's trying. We're gonna go ahead and move on to the leaves and we'll come back to it at a little bit of detail. So I'm gonna go ahead and use the green again. That's for Crazy Green. We're gonna paint the leaves. Todo that. This just little quick strokes like that. So we're almost done here, and the last thing we want to do is get some white. It's gonna add a little bit. Spots in detail here. Don't worry if it's running or bleeding, that's totally fine. So there we go. There's our lavender. Okay, the next flower we're gonna move on to, it's just a basic five petal flower. I'm gonna use blue here. So when you change the value by making something, you know the paint more thin or adding more value by making it thicker, it actually makes your the the flower. The painting itself more interesting, so I never consider them as mistakes. I just want So there's one pedal and here's another one right, and it's just that kind of C curve that we were doing earlier. But I'm adding another one next to it to kind of create like a triangle. Shapes will try to do that slowly and let me do it again. So it's one to So if I was doing it, I'll do it on the side so you can see what I'm doing here. It's just one and then two largest quickly, and I'm gonna paint three here so to another one. So there's two, maybe to the last tunnel. Add some purple one agree four and five. So these air kind of head on. If you're looking at a flower from the top down, that's the angle that you would kind of see them at. If you want to change it up a little bit, you definitely can. So let me just paint 1/4 1 so you can see what I'm talking about. So you want the, you know, pedals in the back to be kind of longer, and then the ones in the front will be a little shorter and we'll let that drive for a second. We want it to be dry before we move on to the next step, so we'll move on to the next flower and then we'll come back to these once they're dry with watercolor, There's a lot of patients involved in the lot of it is just waiting for your paint to dry so they can move on to the next step. And we're going to move on to using the half inch oval wash to paint this dolly up. And this Dahlia is very expressive. It's very loose and quick. So start with the yellow here. This is gonna be the center of the flower. So we're gonna use very quick movements, okay? And we're gonna just use the very tip of our brushes. We do this. So here we go. And it's just a lot of back and forth strokes, okay? You think of a dahlia and it's just got these layers and layers and layers of petals, and that's what we're kind of trying to create here. Don't worry about making it look perfect and getting every single stroke, and you just want to move very quickly. So moving on from the yellow, I'm gonna go ahead and use the pink, so I've got that on. Then I'm just gonna move in and create the next layer here. Maybe thin that out, Just a little, a little duck. And as you move out, you'll notice that the paint starts to thin out just a little. And that's perfect. That's exactly what we want. We think of a flower. It's usually darker and more vibrant towards the center. And as we move out, it gets a little lighter, and that's great. The last flower we're gonna we're gonna paint is the Rose, and we kind of touched upon it a little bit earlier, and it's just using a series of interlocking strokes. So I'm going to start with this orangy pink here. Now what, you want to start out with this? A little spiral in the center. And, Ah, I'm just using the very tip of my brush very lightly to create that. And then what I'm gonna do is at a little pressure to each stroke. So it'll be no pressure pressure, and then I got a little too much liquid there. Let's try that again. It will be light pressure and then heavier pressure and then release it just a little bit. And we're going to do that all around this wall right here. So let me just get somewhere paint again. We'll want to just move very quickly because you think about a rose. It's got these layers of petals that just kind of interlock. So there's one, and then we'll do another one. Then they will just let that kind of and don't worry about stray marks. We'll just let them all interlock here. Do you want to see that again? We'll do it again. People will do in a different color this time. Good and okay, this time, start out with a little spiral. Just interlock all those seas. And that's what's great about this. Fresh is that you can create all these very unique shapes, so there's another one. You can make it as big or as small as you want. Obviously, the bigger and the more sees, it would be a more open and bloomed rose, and then the smaller and tighter would be something more of like a bud or rose. It's just beginning to bloom. No, when you if you like, you can add stumps to that as well. So I'm gonna go back to the green year using the very tip of my brush, make it a little thicker here and then just slight down. Give it a little stem and there you go. Okay, Now let's check on those five pedal flowers. Looks like they're pretty dry now, so we're gonna add centers to them. So the thing about metallic watercolor is that it's opaque, so you can't necessarily layer all colors on top of each other and actually noticed them. You want something that's that gives it contrasts. I'm gonna use the white here. You can have a very basic center. So let's say we were doing a sakura and lift. We would pretend that these were pink. Then you can give it a center like this. So there's one. And again, I'm just using the tip of my brush with those quick up strokes and then adding little dots at the end of each one. So there's one. Or you could do something like this where you've got a senator like that. Let's make it a full circle. Actually, you can leave a simple as that, or you can add a little dots around it, and you could think of something like in a lemony. You've got centers that look like this. You can make up your own create something I really like. And that's what's great about this loose watercolor is that you can just use your imagination. It doesn't necessarily have to be a replica of anything scares another and no money. 4. Calligraphic Strokes: we're gonna go ahead and start talking about calligraphy strokes. I will be using the Princeton Aqua elite around 61 of the hallmarks of calligraphy is a thick down strokes in the thin upstroke. So we're going to go ahead and I'm gonna show you how to make those. So for thick down strokes, you're going to go ahead and create that by applying pressure as you're moving your brush down. Now I like to slant all of my letters, so I'll be creating these strokes at a slant. So that is your thick down stroke. You want to try to keep it even as you're moving down, um, down the page. And then you also have your thin up strokes, which is light pressure as you're moving up the page. So we're gonna go ahead and practice some of those strokes, so just try to keep it slow. And even as you're moving down, you want to keep even pressure as you're moving across. Do that a few times. You see, with this brush, it's so absorbent you can make several strokes before you need to reload the brush, and then we're going to do the same thing Except this time we're gonna use the thin up strokes, so just try to keep it even and thin as you're moving up. The doesn't have to be that thin. It can actually be a little thicker than that. But just so you get an idea of what um calligraphy is all about, those are your thick and thin strokes. So the next thing we're going to go ahead and cover are the basic strokes that make up each letter. So there are several different strokes and we'll go over each one, and the 1st 1 is called on under turn, and basically it just looks like the letter you. So it's a thick down stroke as you're moving down, and then as you get to the curve, you slow down and then move up, and there should be just enough contrast so you can see that one is thicker than the other , and you can you couldn't vary it. So I mean, if I want to really thick down stroke and then a super super hairline stroke up, you can do that. It looks a little more modern if the contrast isn't that big, so the next thing we're gonna do is the overturn. The overturn looks just like the under turn, except it's flipped around. So you're going to go up and apply pressure to come down. So we've got the thin upstroke come around and then the thick down stroke, Okay, Now we have the compound curve, so the compound curve is a combination of both the overturn and the under turn. So here we go. Upstroke thin down, stroke thick and then up again. So that is a compound curve. So the next one we're gonna work on is the A sending stem loop. So we're gonna go ahead and start here, make a little loop as we come up, and then add pressure as we come down. So this we use for all our ace enders and a centers are letters like H Oh, basically the tall letters. You're probably wondering why we're learning all these strokes and the reason is, and a second we're gonna put all these strokes together to create letters. And this one is called the Descending stem loop and it's just down. And then I'm just like that. So this is for letters like J and G. Why and the last stroke that we're going to go over is the oval and the awful. It sounds like it will be easy. But actually the hardest of all the strokes that don't worry if you don't master it, okay? And so you're gonna start here? I think of it as a clock. You gonna start around 1 30 or two o'clock, you move up and then down and back around up, down and background. So I want you to take pay attention to how slowly I'm moving. You really? When your lettering you paint so slowly. And I'm not doing any flicks because I know some people like to dio, um, when they're painting, they might do like a really quick flick. But you don't want to do that. You really want to maintain control of your brush, okay. And those are my vocals. So what I'm gonna do next is put some of these together to show you how to create letters, and the first thing I'm going to show you is how to paint the letter. A. So if you look at the letter A, you think about what strokes put it together. It's just a little oval. So we've got the oval, so and then you've got your under turn. So if you put it, you think about it and break it down for you would be the oval under turn and you just put it together. Okay, So those were the oval on the under turn. Let's try another letter. So let's say we're doing the letter h. So you think about an age, Think about what puts it together in the first thing. You've got this the A sending stem loop and notice and picking up after every stroke. And then you've got the compound Kerr. And then, if you put it together, looks just like this. I noticed that between the two strokes I picked up my brush. And so this is why I always told people, If you've got terrible handwriting, you can still do calligraphy because it's not really about writing. It's more about drawing, so if you could draw these shapes, which you can write a straight line or loop or oval than you can definitely do calligraphy . The last one I'm going to show you is the letter. Why? And then walk over the whole alphabet together. So you've got an under turn for the why, and then you have a descending stem loop. If you put it together, it's under turned with descending stun Luke. 5. Writing the Alphabet: And then, as I'm writing the alphabet, you can see how to connect each letter a swell just right kind of in your normal handwriting. But breakdown each letter. So if you think about your let your handwriting or you think about letters themselves, think how you can break down each stroke. And that's how you right in calligraphy It's all start here. So we've got a and moving up. Think about everything just being broken down into separate strokes. Here, this is Oh, hey, sending stem loop. Okay. F is a little bit tricky. So it's almost like we just combine to together the a sending and descending all in one. So that's the F And then let's move on to the G. Simpson for the G. We've got an oval Sundance move the compound curve that we talked about, but the I Okay, notice again. I'm picking up after every single stroke. You really just want to write really slowly. Yeah. That is really sparkling in the light. Kill. Okay. To be for you. Thanks. That sale for about 6. Citrus Painting: it's our first project that we're gonna work on is the Citrus project that is with Citrus and also a fun quote. And the first thing you want to do is lightly pencil circle on your paper so you can use a compass. Or you can use, um, anything circular that you can trace on. What you want to do is just straw circle very lightly at the center of the paper for lettering. We're gonna use the Round six. Make sure your paint has been wet and has been sitting went for a little bit. Before you get some paint on your brush, I'm actually gonna be using that yellow color. But you can use any color you want and you could. He has any quote you want. So the quote I'm using ISS squeezed the day. I just like puns. I think they're cute, and it's fitting for the Citrus we're painting today. Start with s and again. Just pay attention to the thick and thin strokes. And don't worry. If you get a little gap in your paint like that, you can always just fill it in. Just pay attention to the pressure. Remember to lift after every stroke fun thing I like to do whenever connected t in an age because I take this cross far the tea And then I just connected to the H right there and you'll notice that some of my strokes air really different from, um from the strokes that we learned earlier. He just kind of change it and make it your own to give it your own personality. Make it more you just just like how we all have our own handwriting Definitely have our own style of calligraphy the way I like to change it up. It's just to slightly vary the shapes of the basic strokes. Okay, so I've got my quote in the middle of my circle here. The next thing I want to dio is surround the quote with some Citrus, the Citrus that will be painting today. We've got a variety of lemon and orange and grapefruit, so I like to just kind of play around between all these colors here on using different colors together and mixing them up definitely makes everything a little more interesting. And you'll see that as we're painting here. So the first thing I'm gonna paint is using the orange. So just load your brush with the orange and again just getting that nice cream consistency before you start painting. So I loaded my brush here and in a single stroke or one or two strokes. I'm gonna create that circle so we'll start here. Just go all the way around Now it doesn't have to be a perfect circle. It doesn't matter if you know it's a little more oval or if it's just a little off. And that's fine, because if you think about us a circle, if you're looking at it from different angles, it doesn't always look like a perfect circle. It can look like an oval. You can have parts that are thicker and thinner, so don't worry if it's not a perfect arc. Okay, the next thing we're gonna dio is paint the little wedges of orange inside Thesis Urkal here, and I've just kind of used this orange color as well as the kind of that rosy color. They're mixed it together, and you're thinking of painting little triangles with the center of the circle right here. After you've painted maybe one or two, you can load your brush with a different color. You don't really need to rinse your brush or anything, so the outside of your triangle should kind of fall the curve of this orange appeal. It's like a triangle with a little curved base. You'll notice all the triangles are pointed towards the center here fit that last one in. So there's one. And then I'm going to put another one just about right there. So let's do that one a little more yellow. So again, just load your brush and hold it kind of upright, I guess. And you're gonna make another little circle here. Look at all that glistening of the fine tech. Now it makes it a little fun if you take your brush and while it's still wet, just dab some color in another color, and we're going to do the same thing. Just adding those little wedges, get a little more yellow, then you're just color in it. We're moving very quickly, but to so we've got a little orange on a woman. So a little more of a great through colors. I'm gonna use this cover here right by this morning. E do it. We're going right here. I know I'm doing partial circles, but you can definitely do the full one. If you like at a little orange just to tie it back. You'll be surprised that you can actually mix the colors of the metallics and they look really nice. E. I had a little more of this red coloring. Okay, so we've got there from what time we're going to more. Well, let's do another orangy one here. This one had a little bit of a thicker appeal, and that's totally fine. You can see I'm adding in different colors. It's not just purely orange. It's a little todo. Don't worry. If that happens, just pick up the color and then paint over it. It's totally right. We'll start with this one, and then one more do a kind of orangey yellow one. But it just about here. You just mix that orange in yellow again. Make sure it's pointing toward the center. One last switch. We're just staying loose with the painting. I think that's pretty good. The next thing we want to add to this are some leaves, so I'm going to switch over to the oval wash brush. Remember, in our mark making exercise when we painted leaps. We're gonna do the same thing here. So just load your brush and using the tip of the brush for the stems the body of the brush for weeks till we'll start with one up here and you could do one in a single stroke. Just like that, Or you can is a side of the fresh. Make some that are open skin your women's four. Do you have space for another one right here? Just using those same strokes from earlier? Just fill in this little border here. Just take a look around, see if maybe there's areas that I need more. I think that's pretty good, though. That's it. We're done. 7. Floral Wreath: for a last project will be painting a floral wheat, complete with the little quote on the inside. So again, I'm going to start by pencilling a circle in the middle of my paper. And because this is vertically oriented, I like to have it offset just a little bit higher than right at the center. So you can use a compass or you can use your round Paula or anything circular and that goes for any reef that you paint. We learned a variety of different flowers earlier in the mark making exercise, and so now this is kind of up to you and your creativity, and whatever you want to put in your we've, you can do all of one type of flower. You can do one just of all different leaves. But what I'm going to do today is just do a variety of different flowers incorporating. I'm all of this stuff that we learned earlier. I'm gonna start with a bigger flower down here at the bottom, gonna go ahead and start with a dahlia. So when you're painting a review, want to just follow the the pencil line very slightly. Don't have to stick to it very strictly. But it's a good guy to have trying to paint two closest center because you do want to leave yourself some space for the words when you're done. So which over to my six round rather than just following this pencil line? Exactly. I'm gonna have a few coming out that way. So I have one going this way, Another one going that way. I'm gonna let that dry just a little bit before, Add more details to it. And so I'm going to move on and work on this side of the reef. I want to add some Berries at us time here. I'll add some orange Berries here, so think about adding different sizes and then adding some colors just so it doesn't look so flat and one dimensional. And while my lavender is drying, I'm actually gonna add another bunch up here. Gonna come back here and add some leaves to this lavender so you can True's whether you want a reef that looks really full, and in that case you would be adding more, leaves Onda more foliage and or you can have one that looks a little more sparse, and that's fine too were simple. What? Smooth on and paint a little roads right here. Tony, Is this pink color here? Remember, with the Rose, it's just a series of interlocking spirals and seeds just at a little spiral here. And I don't want my bloom to be that big. I don't want it to compete with the Dalai at the bottom. So looking here, I want to add some blue. So I got you know, I want to make it kind of looked like a rainbow here, so I'm gonna add some blue just right here. Um and I'm gonna be using my round six again and painting those that basic five petal flower that we learned how to paint earlier And then another one, maybe a slightly different behind it here. Okay, So while all of that is drying is a great time to add in some leaves. So I'm gonna switch back to my oval wash, and I like to use the overwash, but so big and it gets those leaves painted really quickly. So again, not not spending too much time with it. Just go in and see where it looks empty asks in weeks and then maybe I'll add one pair. Another one don't care. You can add in some grass is if you want, and then you'll see that your reef is getting more full. I think my lavender pretty dry now so I can add in some more colors in detail. So I'm gonna go ahead and go back with some blue. That's some blue and there on some white as well. So, typically, if this was on white paper, we'd go back in with some darker colors. But because this is black paper, we're going back for some lighter colors to add the details. Now, with the Berries, you can add a little ends of the Berries like that, using the way. And then, of course, we want to add some details. The center of our blue flowers. Here we learn several different ways to do that so you can choose whichever you want. I mean, look full for it. Maybe had some white here on the lease. Whatever you want, just to make it look nice, pop. After it's done, drawing will go ahead and at the lettering, so once you're repressed dried enough, you can go ahead and letter, and the center of the wreath. Whatever you like, you can put in your name. You could put a fund quote or just a single letter like a monogram. Today. I think I'm going to write the word bloom, cause I think that fits perfectly with all the florals here. And we're almost done here. Last letter. Remember to lift after every stroke. There we go all time.