Cabbage Roses Watercolor Class • 15 Steps Intermediate | Shannon Christensen | Skillshare

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Cabbage Roses Watercolor Class • 15 Steps Intermediate

teacher avatar Shannon Christensen, Surface Designer, Creativity Coach

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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

25 Lessons (1h 27m)
    • 1. Cabbage Roses Introduction

    • 2. Cabbage Roses Project Examples

    • 3. Cabbage Roses Materials & Workspace

    • 4. Cabbage Roses Key Concept A • Limited Palette

    • 5. Cabbage Roses Key Concepts B • Brush Strokes

    • 6. Cabbage Roses Key Concept C • Value

    • 7. Cabbage Roses Key Concept D • Wet & Dry

    • 8. Cabbage Roses Key Concepts E • Scale

    • 9. Cabbage Roses Key Concept F • Line Quality

    • 10. Cabbage Roses Step #1 Background

    • 11. Cabbage Roses Step #2 Rose Base

    • 12. Cabbage Roses Step #3 Rose Centers

    • 13. Cabbage Roses Step #4 Rose Petals

    • 14. Cabbage Roses Step #5 Leaf Base Pro

    • 15. Cabbage Roses Step #6 Leaf Outlines

    • 16. Cabbage Roses Step #7 Baby Leaves

    • 17. Cabbage Roses Step #8 Check Point

    • 18. Cabbage Roses Step #9 Reflected Light

    • 19. Cabbage Roses Step #10 Borders

    • 20. Cabbage Roses Step #11 Rose Ink Outline

    • 21. Cabbage Roses Step #12 Rose Ink Centers

    • 22. Cabbage Roses Step #13 Big Ink Leaves

    • 23. Cabbage Roses Step #14 Baby Ink Leaves

    • 24. Cabbage Roses Step #15 Borders & Tendrils Ink

    • 25. Cabbage Roses Project Info & Design Help

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About This Class

A Beginner's Cabbage Roses Watercolor Class. Yes, that's right. Beginners. These cabbage roses are very forgiving for new watercolorists. I'll walk you through a 15 step process that includes watercolor & marker. You'll gain the skills (value, scale, limited palette & reflected light) and confidence (practice & fixing mess-ups) to create cabbage roses. A little bonus - you can use your practice versions of the class demo as gift tags & pair them with your class project.


The Class Demo & Practice a 4" x 4" watercolor of cabbage roses. The Demo Practice is purposely small so that 1) it doesn't require a lot of time to paint 2) there's confidence to try something new without a huge investment  3) the fear of "ruining" it is lessened because it's not so giant, which lends itself to 4) give courage to actually try new paint strokes and 5) because it makes into dang cute tags with its small size.


4" x 4"

The Cabbage Rose Class Handouts are 26 color pages that includes 1) materials list and links 2) the 15 Steps with Diagrams and Directions 3) a Cabbage Roses 15 Step Cheat Sheet and 4) a Key Concepts reminder sheet. I've tried to make this as helpful as possible so that you come away from this class saying, "Look What I Made!!"


The Class Project is to create a Special Event Invitation. Any size, any color, any event. (Preferably a real event.) This will help solidfy those skills learned in the Demo Practice. And your friends will love their special invitations from you.


Meet Your Teacher

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Shannon Christensen

Surface Designer, Creativity Coach


No matter where I've lived - Jordan, Sweden, Montenegro or the United States - they all speak the universal language of flowers. And I love the lexicon of blossoms! Florals are the darlings that guide my artwork, start my fabric collections (I've made 3 with Windham Fabrics) and delight my creative life. 

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1. Cabbage Roses Introduction: Hi, My name is Shannon Christiansen, and welcome to my skill shared class. Today we will be doing cap atrocious in a shabby chic. Feel it in water colors. So what I've done is broken this down the cabbage roses down into 15 steps, and with each step I go through, I show you exactly what to do. You follow along, and I also give you tips while you're doing it so that you can understand why we're doing what we're doing. Because then you can take the concepts that you've learned and the practices that you've done and move on to other projects you can use The practice demos on picnic basket tags or gift boxes may be framed art. Put it on an easel, even business cards with a degree. In illustration. I'll teach you key concepts such as value scale, using limited palette and brush drugs. I've included a pdf file. It has a materials list as well as the steps that we've gone through in the class. I've also created a cheat sheet so that it has all the steps as little reminders when you are going through the project again on your own will culminate everything you've learned with a class project. That project will be to create a special event invite. Think of something that you have coming up an event. Ah, birthday may be a girl's night out or wedding. You can dio a number of invites. You can do one and copy them off. You can do it any size, any color for any event. Find out more about the project and to get the materials list as well as the demos enrolling this skill share class and I'll see you in the next video. 2. Cabbage Roses Project Examples: on this invitation there, all handmade. They're all hand in. This is just a variation of the project that we did in the class. It's a one sided invitation. I can write on either side. I can print off something and glue it to the back side. I can run this side through my printer, so there's several ways you can make it. An invitation I went through. I did several of these again. You can see the same things that we use. The only thing I think I did different was to put the centers a little orange or yellow, and I did some reflected light. Can you can see here here with a little bit of the orange? Well, that's one way to do the imitations. Another way is to do the mom watercolor paper. This is my invitation that I did. Then I took a picture of it and then send it off to the printer. Another thing I like to do is stamp my work so that somebody knows that this was hand in hand, painted just for them. 3. Cabbage Roses Materials & Workspace: first, let's look at the paper that you're going to need. You want watercolor paper in four inch squares. You can either buy those pre cut in four inch squares, and they come in little packages that say artist tiles. Or you can buy the larger size and cut them down into the four inch squares. The most important thing you're going to want to look for when buying watercolor papers, the pound of the paper. That's how heavy or thick the paper is. You can find this information at the front of the product down, usually near the bottom. The L B stands for pound and don't get confused with this size listed in Grant, you want watercolor, £140 people. Then you want water containers as well. As paper tells. I used to water containers, one I use to pull my brush in on the other. I used only for emergencies and by emergencies. I mean, when I make a mess up and I need clean water to clean up quickly, I have that We're basically need three brushes, two rounds, the number two and number four as well as a flat brush and that can be anywhere from 1/4 inch size to one inch in the video. I use a 3/4 inch brush, but you can accomplish the same thing that a small fish. You also need a permanent marker, and I usually use a Sharpie. I do the demonstrations in two different call options. One is with the palette that has many different colors included. The other. I uses a limited palettes, and those colors are yellow, so you can use either option. I also use the lid to lips, my colors. That's the supply list. Now you're ready to start with them instructions. 4. Cabbage Roses Key Concept A • Limited Palette: all right. Her limited palate is pink, yellow and green. Going to take my red, take my yellow and now I'm going to mix these two colors so I only take a little bit of pink to mix in with the yellow, and then I get orange. This is permanent yellow green. Same with this yellow yellow. Such a light color that any color added to it is gonna be strong, so you don't use that much. I just want to show you what happens when you mix the pink and the green. What happens is it becomes brown any. If you look at a color wheel and any colors opposite each other on the color wheel, if you mixed together will create a brown. The brown will have undertones of the colors you mixed, but it will be ground so we can mix pink and yellow to get orange. We can use orange for the center of our flowers and also for reflected light. We can use yellow and green to get varying, different lime greens and use those for the leaves, and then we will be used pink and green to do reflected light and will have to be careful because if we're not careful using those and reflected light will end up with Brown. That's why I wanted to show you the Brown. Now I want to show you something When I was doing the demonstration before Eyes Bladder green, This is where my emergency water comes in to play. It's always clean, and so I take my emergency water and I place it right on there, and I use the brush to kind of rub it in a little bit. And then I take part of my paper towel, and I just that the water absorb. Now the fibers will never be the same in a paper that you've put water, too. So just realize that that area will. If you're going to paint, it will take the watercolor different than an area that's never have any water. Now I want you to try and mix these colors up to get orange, lime, green and brown 5. Cabbage Roses Key Concepts B • Brush Strokes: I'm gonna talk about brushstroke just a little bit. So we're gonna take the flat brush to make a big wide stroke. One stroke and we've covered 3/4 of an inch of ground there. Now, I remember watching a girl when she was doing this project and she had a flat brush. I saw her using the brush and she was doing this with the brush, making little strokes with side tip of it. If you want to make little strokes and you get a different brush, utilize the brushes, intent for what you want. It's in our leaves. Drugs are going to include smile. The second is a frown, and we combine those two. There's your smile and there's your friend. I wanted to show you something else about brushstrokes. When you are painting, a lot of times, when your new it painting something, you will brush and then you will hesitate because we all has a table. We're learning something new, and then you hesitate. Stop and then lift up and you end up with this little puddle and it dries as a little puddle. So we sometimes we were like I said, we're learning with pain drag stop think about it. Is this when I want to lift it up? And then we say Yeah and lifted up who? We've created a little puddle. You can alleviate those puddles by paint, drag and quickly lift up. There's no puddle that's created when you do it in a swift motion. Now we're learning. We're gonna end up with puddles, but we want to get to the point where we don't have those puddles. Many people totally get the idea of using a paintbrush and going back and forth. We've done it since kindergarten. What I don't think people realize when they're painting is that we're not only going back and forth, but when we get to to certain points, we go up and the brush just leaves the paper as it goes up, down, spread across. Now. The next stroke to practice is a spiral place. Push down, drying around very slowly. You can see how wide it is, and you can see the pinking lighter. You're creating a value without even having to do anything special or extra. You keep going as I'm going in my spiral. I'm starting to lift the paint brush off the paper, so I'm not only going in a spiral, but now I'm going up. So then you get the thick to fill line. I really want you to see a side view of the spiral we plays. We pushed down. We'll see how flat my brushes compared to the paper. It's all the way. Push down. I go around and I keep the brush flat. It's a little awkward cause I'm holding the camera and painting, but notice When I come around this curve, I start to lift brush so it's no longer laying flat, but only halfway up. The bristles is the plain flat. And then I as I go around, I get a lasting less flat until I end up with just the tip. Let's do that again. Place pushed down around. I'm still very flat. I come around to where I started, start to lift up halfway until I end up with just the tip. We'll do it again. Tip. Please push dune around and start to lift up halfway, and I'm just getting to the tip. I really want you to see and understand this concept because it will make a big difference in your rose petals. 6. Cabbage Roses Key Concept C • Value: Our next key concept is value, and usually when you do a value scale, you'll take black and white and mixed varying shades of grey until you have a scale from 1 to 10 or 12 in water color. We do value scales. What we do is use water as our white, this or these value scales using the pigment and water. And I'm gonna show you how to do that because there's two sides to the paper. One's a rougher side with deeper crevices. The others, a little bit smoother, still has crevices, but it's a little They're not as deep and not as many, and so we'll take the smoother side. So I get a little water and I don't read it. My paper should start and I keep going. And what happens is the pigment and water is being painted and released out of the paintbrush onto the paper. And as long as I don't get more pigment than it starts to get lighter and lighter. So we're we're creating that value scale without any other paint. No, I'm running out of room, so then I'm gonna take my paintbrush and take starting in drag across when you can see that the color is lighter and lighter. And so we have a pink value scale we've created. I'm yellow and again I'm gonna take the smooth part of my paper, get a little yellow paint. - Now you're going to want to do this. Even though it might seem like a simplistic exercise, you're going to want to do it so you can see how the pigment and the water react with the paper. We're gonna use the value skills. When we paint a once your values council dried, I want you to circle the values then you're going to use. We're going to be using a dark medium in light. So of course, you'll take your darks and you will circle those because these will be our darkest colors. Now, I could have picked this one and this one in this one for my dark medium light. I happen to choose this This in this, you can choose anywhere along this value scale as long as you pick a dark medium in light. I could also if I go, that's too dark under even one at that dark, I could say I'm gonna choose this as my dark. I'm gonna choose. This is my medium, and I'm gonna choose. This is my light that's called a high key. If we don't even use any of these and we just use the's, that's a high key drawing or painting If I don't want to use any of these past this point So I'm going to make this my dark, my medium in my life, I would suggest using a full range or the range that I've given. Sometimes these can be so light that they're hard to see. So that's why I wanted you to be able to see the light and still be able to work with it. So what you'll do is you will make a value scale for each color, and then you will pick out your dark BDM in light and save these strips for when we worked with them. Roses 7. Cabbage Roses Key Concept D • Wet & Dry: Our next key concept is painting wet on wet or went on drugs. What I'm gonna do is take my emergency water and put a square. I'm using my big, fat, flat brush I'm doing to water squares that are not connected. So I have dry, wet, dry, wet. So I'm gonna start over here in my dry I'm gonna drag it through my wet, drag it through my dry drag it through. I wouldn't drag it through my dry, So I'm gonna start over here, drag it through my dry, drag it through my one notice what happens with the color, and then what happens? I'm pulling some of that water out and pulling more water out. Who happens now? You lose pigments along the way, but you also drag water through. I'm gonna do it again. When you have a dry paper with a Web rush, you get sharp, crisp edges. When you have a wet paper with a wet brush, you get fuzzy edged us. How we're gonna do that again, We're going to do with the green. It's unpredictable when it gets in the wet and wet. It's more predictable and more controllable. When you do the wet on dry. It's very unpredictable here. We've drive. The water starts to follow. The path of the paintbrush killed in the water goes in their souls. More predictability again. We have the edges that will keep the water square edges, keep the water and pigment in that area and doesn't let it bleed out. So let's do that again. So if I say paint wet and wet, I say I'm seeing get a wet surface or paint that's already wet hand paint directly into it . If I say I want a wet on dry, this is what I'm talking about, what paint dry service. And we will be doing a little bit of both. But I want you to practice that kind of play with it a little bit. See what the water does. See what the painters when it reacts with water 8. Cabbage Roses Key Concepts E • Scale: this key concept is scale, and what I mean by scale is to be able to make different sizes so that there's a hierarchy insides, and it's just basically small, medium and large, so small medium I'm using. My flat brush is helping me and art. Now it seems simple enough, but sometimes when you get going, you just keep going bigger and bigger and bigger, and it starts to be out of control. So even though it's a simple concept, still take care. When you are making your small medium large so that there is a distinct Suomi in March, we'll show you that this is Dr Rush. Dry brush is when there's less water in the paint brush and you drag it across the paper and not all the water. There's not enough water to soak into or lead into the little crevices. The paper cause the little premises of paper go up and down, up and down happened down, so when you skim across, you don't have very much pregnant, and it's not going down into these little crevices, whereas if you have enough pigment, the start took, it falls into those little crevices, so that's dry brush. I don't We're not really gonna talk about using dry brush so much, but if you come across that, that's what's happening. Your paper has absorbed all the water out of your brush, so you need to get a little bit more brush a little bit more water in your brush, and you can go over those and let the let the water health take the pigment deeper into the creme assist. But back to scale, we're going to do small, medium and large. We're also gonna Dior small, medium and large leaves the large. It's more oops, the large of the medium in this, and we're also going to get to this moment. So just practice. Couple. If you want to scales pretty easy, you probably don't have to practice these, but just be aware when we start to paint that you're going to want to make sure that you have small, medium and large. It really creates variety in your painting when you use different sizes. Even if we're doing something small, keeping those variations of scale sighs. How keep interest in your painting? Let's go on to the next she concept 9. Cabbage Roses Key Concept F • Line Quality: way Want to talk about the concept of thick and thin use Thick and thin lines. It adds a variety to whatever we're drawing or painting a fixed in line. It's simply had by starting off lightly than pushing down with the brush and coming up with Stand with the brush the you also be doing kicking thin lines with our marker. I didn't ask you to get a fat marker. Here's our thin marker. This is the kind of market if I asked you to get. You could use a thick marker if you wanted to, to get that thick line. But we can just create the thick line on the thin line by filling in with our marker. Here, you can see the thin, thin lines that we will use for the Rose. If we did it off declines, it would tend to be a little bit boring. If we did all thin lines the same thing. It would tend to be boring. It really creates the interest if we can make the thin n thick lines. I remember, though in class I was teaching that a younger was doing the roses and she went to the ink work, and she did These lighten lovely little delicate lines. And I said, Your lines air, really lovely, delicate, but at a little thickness to it. So then she came back with the next, her next little practice, and they were all thick lines. And I said, Oh, that's too bad. You had a beautiful, delicate line. I just wanted you to add a few of the thick lines, not make them all thick. What you don't want to do is lose your own signature style. We have a certain way we right, we will have a certain way we paint, and if you lose that, then you lose the individuality. When somebody asks you to do something new, try it out, investigated, then incorporated into your own signature style. So you want to add some of these, but you will add them your own away trying thick and thin lines for this concept, 10. Cabbage Roses Step #1 Background: we are ready to do our cabbage roses. We're going to start with Step one, and that's creating the background. We're going to have our now you scale that we did earlier, and I'm going to do a tube color one and a palate color one just so you can see them side to side. There's not a big difference, but there's a little difference when you use the two different ones. Now, remember we talked about you're gonna pick a dark medium in light. What we want to do is have a medium value go on our background. So any place from this down, I will start with my palate color, and I will now. This probably looks around here, and I didn't want it that dark, so I'm going to drag some of that color away now. Does that start to look more like this? It's still probably a little high, but if I keep using my flat brush and dragging that color, and that's why you're using a big, flat brush so that she can work quickly over a lot of space and cover a lot of space quickly, so that is probably in the range. I want. But what if I wanted it a little darker than I would probably clean out my brush? Probably I would clean out my brush and then I would take get us much yellow out, and then I would take my brush and lift some of that color out. Now. Notice the difference between the two and then I'd clean out my brush cause I'm What I'm doing is using the dry brush and the water that's in the dry brush, what's not completely dry, but and lifting out water impairment as I go. So I clean it out. Then I place it so there's still a little bit of water and I'm lifting that. See, I didn't lift as much when I just went directly. I have to clean out that brush and lifting it up, and that all of a sudden my value color has jumped down quite a bit from what it was before . So I have, ah, very light in between here color value. Now I'm going to clean out my brush and I'm going to get my yellow over here Now. I realize from this purpose one that I don't have to have a lot of pigment in my brush. So what I'm doing is getting a lot more water and less pigment. I'm dragging it away from that pile so that I don't have very much pigment in it to begin with. So wait place. Use that fat side of the brush and see it's already lighter than when I started with before because I didn't use as much pigment. Remember, if we want a lighter value, we make water are white, and then we use the water to make it lighter. So already I've created the value much lighter simply by amusing, more water thin pigment. And this is step one of our background. 11. Cabbage Roses Step #2 Rose Base: Step two is our rose base, and we are going to use scale meaning the small, medium and large. So I'm going to take a little pink from my palate. And this is where I want to switch out my value scale and use my pink on your skill. What we want is a light color base for the roses. So we want to take take any kind of, like color from here down. So I'm gonna get a little bit of my pink color from my palate, and I'm gonna try it out over here on the side, cause I want to see how much pigment I have on it. Does that match anywhere over here or over here? It mostly matches right there by sprint it out a little bit. It starts to match into my light area. So I want to realize I don't have to get very much pigment. I can have a lot of water, so I'm going to start with my small and I'm placing it not in the center, but just off centre in this quarter. If we split it in fours, I'm doing it in this quarter of here. So then does that match my values. There's a small assured us, then I don't really have to get more paint because I'm keeping a light value. Now I need to get more paint just because you can see I'm getting dry brush. That's where the pigment doesn't really go in with the water into the crevices. But if I go slow, there's still enough paint and my brush and water my brush. But for my bigger one, I'm gonna dip it again. I might want to test it out to see how much, isn't it? I probably since it's a bigger one, can handle that much. Now you want to make sure your circles touch so that was small medium. I did kind of a large medium deny. So that means I have to make my large larger than that. I want to make it so it touches at least one of these, and it will probably touch my medium because it sticks out more. But it can touch my a small tube, but I have to have it touch at least my medium. So I'm gonna do like a larger circle. Now have I kept in the value range and I wanted. Yes, I have. So now I'm gonna do my tube colors. And again, remember, it's a water. If I were to just take this right just straight out of there, that would be what value? Yeah, that would be appear. I don't want to do that. I want to add water to it. So get some water. I'm afraid that yellow right there's been a bit mixed with it, so I'm gonna makes it a little bit of here, so I have my I'm gonna test it out. It's kind of dark. I want to still get a little bit less. It's a little bit less for me at a little more water. I'm going. Teoh, test it still dark. So what I'm gonna do is get rid of some of it out here to the side. And then when I go to do my small, remember up in the quarter. Now that probably is still a little darker than I want. So what I can do is clean out my brush. There's only now water my brush. I will go back and lift some of the color Clean up my water, clean out my brush in my water and lived some of that color so that I get the value I want . Clean out my brush, try it off a little bit. Lift some of that color, clean out my brush, try it off. Lived some of that color. So then it goes to the value that I really am looking for in that base of the Rose. So I'm gonna get some more color. Test it out. I think that'll work now. These don't have to be perfect circles. Obviously, we get the shape it's and there's not a perfect gross circle. Usually. So that's a little dark, but I don't mind. I'm gonna go ahead and keep it. I probably want to lift that value just a little bit. I think it's just up here in this range. So what I did Waas, you know, clean out my brush, dried off and pulled clean out my brush dry enough, pull up the paint Now. If I wanted to, I could take one of my flat brushes and I could clean it out, dry it off, make sure it's dry, and then lift a bigger chunk of color. Notice. How much color was lifted up at one stroke because I used the right brush at the right time is really you remembering to use the rhyme brush the right time? I could do the same with this one to the light in the value. Now I have this outer edge and it really might bother me if I were going to if this wasn't going toe, have some other colors on it, but says we're going to put other cars on it. We don't have to worry about it. So that is step to the Rose base and we've made a composition. 12. Cabbage Roses Step #3 Rose Centers: Now we are in step three, creating the Rose Centers. What we want to look for is a value between dark and medium. So I'm gonna take my number four round brush and put it in the paint. But I'm gonna make sure I get pigment in it. And then I'm gonna dab it off on the paper town just a little bit. So see some of the water thing, we come out and then I'm gonna dio this one off center. See, that's not very light. That doesn't give me the value I'm looking for, Does it? That's more right around here. But I want a doctor. So yeah, well, you know, that's the value I'm looking for. Between that range, it doesn't have to be a perfect circle. In fact, you kind of wanted to not be perfect circle. So that's not right in the center of my rose. I will make this one. So it's off center as well, but kind of facing that rush so that they're kind of talking in a little group almost. And then this when I will make center. I only put two of that because it's small. So that is the center off my flowers from my palate colors. Now I'm going to do the same thing over here now. If you wanted to, you could actually do Orange, two small ones, great, bigger ones and noticed they don't have to be perfect circles and then three for my larger one. And that's step three the row centres. 13. Cabbage Roses Step #4 Rose Petals: Now we are doing step for the rose petals and what the rose petals are are really the spirals. And if you've practiced the spirals, you will remember its place pushed down your paintbrush drag around. And when you get back to your starting point, start toe lift and lift your paper. Sh up off the paper So it's not just going around in a circle but going up off the circle place Push down and I'm going outside my circle just a little bit. I'm coming around. I'm starting to lift and you can see me lived almost clear Little Smiley face into my center The reason why we put the center's first wasn't so. You had someplace to aim as you did your spiral. I mean, you could put your your spot your centers in afterwards, but we're doing this so we know where name. So I start on the outside, push my brush, push it down, I should say, place my brush pushed in town drag around and I'm starting. I go straight over the small one cause it's still what it's not gonna be visible. Then I start to lift up and I start to go round. Now, if you hit your centers, that's going to be OK. Okay, I'm gonna do the third and largest one who will start on the outside of the circle place pushed down, drag around. I'm gonna go straight over the medium, and that's okay. Then when I start to get back to my starting point, I'm a Nestor to lift up. I don't want to lift up completely because I don't want just fat and skinny lines. No, I ran right into my center points, and that's okay because we can add more vacuum later. So, you see, we have some different values here. We have values appear with the big one. We have values probably in here, and this value kind of even through here. So we've created a different values just by how much pigment, how much water and the not putting more on the brushes we go around so it makes it lighter and lighter. I'm using a number four brush for this if I didn't mention it. So I'm going to take my two colors and I'm gonna do the same thing. I'm gonna test tubes. Or so this two colors are so concentrated that you tend tohave Too much pigment in it. Really? When you start out so again I'll take some of it out. I will start on the outside of my small circle place pushed down around. I actually could have used a number two for this the small one, but the number four worked. But if you want to switch to the number two before you do that, that's fine. Now I'm going to my needing month and we want to have a lot of different values. And this is why I said it won't matter for the outside ring because we're going over it with the paintbrush. So place pushed down, drag around I'm coming back to the starting points I start to lift up, lift up, lift up So I have fat, medium thin lines Remember we talked about the can thin lights thick and thin K I'm gonna do my last one. I wouldn't put a little bit more pigment in that start on the outside And I can go outside of my circle if I want to A little bit from in a stark place Fat because I'm pushing down on my brush Makes a fat line his Why does my brush ago and then lifting up when I'm coming toward my Centrepoint or my starting point? Then I'm going toward my center going toward my center, lifting up a zai. Go tell him at the tip. So we have a variation of lines thick to thin, and we have a value difference between them as well. So that is step four with our rose petals. 14. Cabbage Roses Step #5 Leaf Base Pro: All right, We're into step five. I'm going to change out my value scale to my green value scale. And what I want to do for the leaf is create a base that it falls between medium and lights is gonna test this green out to see Oh, yeah, that's plenty light. So I'm gonna make my base believe I'm gonna put some large leaves and some small leaves And there's about four leaves in this project So I'm gonna take my big leave, which there's hardly any there, So I'm gonna get a little more Try it again. There we go. Big leaf smile, frown and fill him smile, frown and fill it in Now if you want a tip which I don't know if I talk to you about in the brush strokes or not But we take ah, smile And when we lift up it creates the tip because we're barely touching it and my frown and we end Start where we start on both and in when we in on both That's not always the case that ending but the starting. We like to start dancing and then bring that color up. Now if you notice the was not quite dry, that pink wasn't quite dry. And so when I dragged the green can dragged a little pink and that's totally fine. It's blending in a little color so we have a couple more leaves. Smile, frown, fill in, smile frowned fill in again Some pink came from here into their which works out fight smile . See, I lift up and I got a tip. I want this to be a fat leave so I'm gonna do a fat frown lift and then I'm gonna fill it up and again. You might get some of that pink and that's okay. I'm going to do it again. I'm going to go peer into another big flower. I won't fit very well there, So I've got to turn it on its side so that it'll fit in that framework of the border. So I'm gonna do a smile now see, if I went back in mixed any more green right through there, I would start to get a brown, and that's what we call a muddy color when we start to get grounds instead of the separation of colors. Now, this much pink in it is not a problem. I'm gonna clean out my brush because I don't want to make a bunch of brown. I just wanted a little pink in there, and that works. But if I got to mixing back and forth back and forth in that area, it would give me brown. That's too dark. So I get a little water, My pain fresh I Gilligan my frown. Now that, to me, is probably a little darker than I want. So what do we dio clean out our brush, dry it off and pull some of that pigment off? And I just You kind of used it to fill it. We're gonna go to another are other flower frowned smile, fill it in Am I keeping within my values? I believe I am right there. Maybe that one's a little dark. But like I said, I wanted to leave that a little bit darker up through there. This is maybe getting just a tad up here, so I will have a little bit more water to my paintbrush for the next leaf. That's a super light one, and that's OK to Dio. So I have a little bit of variety, and this one is drying and stride and maybe a little bit lighter. But I have those light values that I wanted in the leaf based that is step find. 15. Cabbage Roses Step #6 Leaf Outlines: All right, we are going to do Step six, the leaf outlines. Um, we are going to use the number two round our smiles and frowns again, but with no fill in, I'm gonna get a little bit of my paint. And this time I want a value that runs from here medium to dark. So it could be anywhere in between there. So I'm getting, um, some of the color from the palette, and I'm going to do my frown, or that's action my smile and notice the value by through there. And if you also notice I when I put the base leave down, I went past the border, and that is also to give it some visual interest is well, I'm adding a little pigment when I do this. Now, I'm not gonna outline right there because I want my rose to be on top of my leaf. So I'm gonna start there and do my friend, and I can do a center if I want to. And remember, we don't want puddles, so we place drag lift. Think about lifting before I get there. Lift quickly. Remember place. Same starting point, but again, I don't want that to be covered. But I'm okay with a little covering other but there. Tip When I get a tip when I lift up So I'm going to place drag lived I'll put a little 16. Cabbage Roses Step #7 Baby Leaves: all right, here we are at step seven. We're going to do baby leaves to do the baby leaves. We do a one stroke brush mark, and it's just a tiny little smile or a tiny little C. And I just barely lay the brush on this side and just give it a little see or smile. I'm doing these a little bit darker so that you can see them but its place on its side drag . I'm going to look at my design, and this is where I'm going to decide where to place. It's the small baby leaves. I want to leave some areas open so I don't flood the whole painting with baby leaves. But I want to keep a few next to the big leaves because that's generally where they would be coming out off. So I'm gonna take my once, drove a lay down solid side, give it a little smile and pull it in. There's little baby leaf, and I'll do another one. Place it on its side, pull it into a C or a smile, and I like to do them in a ones or three's a lot of times. So there's 123 Can you do one over here on it? The brushes on its side, A little smile. That one's a little bit bigger and that is fine. And then I'm gonna do I just said, Well, I'd like to do in twos and threes. Guess what I'm gonna do. Do So this is up to you These air preferences. There's no science to it. What there is, there are some principles, but it's on a science. So play with that and decide where you want to put them. Place it on its side. And again, this isn't for shape. This is full color. We will work with shape. When we do the ink work, I'm gonna break the plane. The line of that back Boerner. You can see I've left this area without leaves this area without leaves and through here and here without leaves. That will be able, Teoh, let the I rest when it goes around the painting and that it leaves a little bit more balanced design. I'm gonna do the same over here on the other tube colors. Place the brush on its side, Give it a little. This would be a frown from my direction, and that's probably a little too dark. So I'm just gonna spread that color, Come to my town, take the put the sum of the pigment in water in the paper towel, and then I can come back and lightened that up. I get a little bit more water in my brush again. Again, that's a little dark. You take some of the water and pigment out of my brush on the paper towel. If I keep getting the value, I don't want my add water because water is our white. To lighten that up, you need a little bit bigger one here because I'm a little bit of space. A little bit more space. I'm gonna do these small cause there's very little space again. My pigments too dark for what I want. So I dry my brush on my paint. My Pickard house. You wanted to look like the leaves are coming out and you don't want everything to be the same like three. Here, three. There. Two here, two. There you want to kind of break up your pattern so it looks a little more natural. And I just said, Don't do three here, three. Here and what I do, how to take my owner by sometimes. This has now a lot of leaves, but that's we're going to do no notice. Remember that I've kept all the leaves within the medium range to the light range of our value scale. We will move on to step eight. 17. Cabbage Roses Step #8 Check Point: welcome to step eight. This is our checkpoint. What we're going to do is take a look at what we've done so far and kind of check over a few art from principles to see that we are on the right track. I'm going to use my value scales. Um, to do this first, I'm going to take the pink value scale, and I'm gonna look at that. And remember, in the beginning, we talked about dark, medium and light. I want to make sure that my roses had dark, medium and light in them. I'm going to go to this rose, and it looks a little flat to me because it looks like I only have a light value and a medium value. I don't see any dark values in here and since there no dark values and it makes it a little less interesting. So for this, I'm going to add a darker value. And since I'm working in the palate, I can take any of the colors and I want. So I will take a little bit darker red and mix it with a little bit lighter red so that I have a different, darker value. So I'm gonna put it right over here. See, that's a little bit darker value. I might want a little darker, so I'm adding a value, the darker value. And for this, I could do my whole spirals, But I don't want to do that on such a small area. I'm just going to dio little frowns or smiles so that it just adds value in some areas. All right, it's the same here. I could do a spiral, but I want to not fill in everything I do want the light in the medium. So I'm just going to you do a little half circle. And I also noticed that I have lost my flower centers. So because this is a checkpoint, we're gonna look at all those things and and I have lost those. I'm gonna go back and try to get a little bit of the lighter pink and add those back in the large. Rose doesn't have enough value, um, distinction for me. So I'm going to and on this one, I am going to do a spiral. I'm not gonna follow along the same spiral that I did before. I'm gonna go over this leave as well to push that leaf back. So nobody says that you have to follow along the same line. I'm trying to add a little more interest in the mines. The large Rosa supposed overlap the medium rose, and I can just do with the ink mark. But I think if I add a little darker value right through there, it might make it a little bit more distinctive. So now let's look at this. This looks like it has some darker values and it has some live values, but it's meeting missing some of the medium values. So I'm gonna take a different approach with this one. I'm going to lift the color out of it. So like I said, we have the darker values in the lighter values. I want some medium value. So I'm gonna start with my small rose, and all I have in my brush is water. So I'm just gonna take my water and I'm going to go around over and over the same spot and you can see that it's starting to lift color right there. And it's loosening the dry color off the paper so you can see the colors puddling up. So now what I want to do is get rid of the water that's holding the payment that I lifted up. So I'm gonna dab the towel on it. And then I pulled up and all of a sudden I have a different value there than what I did before. It's not a medium, it's still light, but they got so like that. It made the what was light before made it in medium. That's the thing with value. Value isn't is what plays against other things. It's not just, Oh, this is always going to be medium. That's not the way it works. This could be dark If you didn't have any of these colors, this could all of a sudden become a dark. This could become the medium, and this could become the lights. So value is how it plays against the other pigments and how much intensity those pigments have. So I pulled up that I'm gonna pull up some more into this because this is really think through hair and I don't get I only have dark and light, so I'm going to pull that. Can I just keep going over the same shape and you can start to see the paint is being lifted. And when you get it to the point that you want, I don't even have to soak up all the water. But I I want to go ahead and do that. But you could just soak up a little bit of the water and leave it to re dry. That gives me a little bit more of the values I'm looking for. Now, as I look at it, I have a little bit more distinction with you. If I wanted to, I could let that dry a little bit more and come back in with a little bit of color testing on my side. How much so I could come in with a little bit of color if I wanted to go over that so that it doesn't look like I went and just dab the color out, though that's not gonna be really noticeable when we put Thean cork in. But if you were doing this and you weren't doing ink work, you could rework that area with a little more water. Um, color to it. OK, snow for the larger rose, the darker colors air right here. I don't see those darker colors in this. So what I'm gonna do is take my paint and add to it. I subtracted the color on the others. Now I'm going to add, but I'm gonna take my number four brush because I want a little bit bigger pedal, so to speak. Even though it's a spiral shape, I want bigger pedal there and there's a lot of the medium value there and there, and I've totally lost my centers. It was really what when I did it. So I'm gonna go around and I don't have to go over the same pattern of spiral I didn't before. I can make a new path that will just add a little more interest. Those roses are supposed to be behind this bigger one can hear. I just did a seat, so I started the pedal spiral C right there. And I only did half because I didn't want to just all of us and make it all of it dark again. All of it was medium value I didn't want. Today I'll make it all dark value. So I add a few in there Point, I'm checking my values in the roses and now I'm gonna check my values in the leaves. Oh, I have some different values here. I actually have some lights, a little bit of light there. Medium and darker, have a lot of light there. It's lightened dark. This almost gets lost a little bit because the values are so similar all through there. Now, you might want to keep it that way. I want to bump it up a little bit with, um, the value to get more toward this value and see if that might work. And it looks like in my work, I'm just going over. No, I'm not. I go over the same line because I want to keep some of the different values I'm just adding And that does what I had hoped by adding a little bit of dark, and I don't even have to go all the way up. Um, it looks kind of odd just having that dark value and nowhere else on it. So I'm going to add some over here just to give it some continuity harmony through the painting, and I'm just going to do light, light light. So I have to add more water might over here to have a little bit See how light that was? I didn't go as dark as that, but it still adds another value to this Leave. I'll go for this green, and that does add a little bit of value difference. You could get a little carried away with this. Try to keep in mind that you to keep looking back at the values. The point of doing some of these extra strokes is to end the different values of a dark, medium and light. Oh, my, my centers of my flowers. They got totally lost. So I'm going to dio redo those now. You could get totally crazy on me if you want and makes a little red and yellow to come up with little orange. Did you put in your centers? I try to just make this a simple as possible and not worry about a bunch of colors. But we did learn how to mix him in the beginning. So if you wanted to do that, that would be fine. That hymns our step eight of our checkpoint to kind of see how we're doing. Generally now we're gonna go to step nine are reflected light 18. Cabbage Roses Step #9 Reflected Light: we are at step nine, which is the reflected light step. And what happens when the light shines on something? The light hits the object and the color bounces off. Whatever the color of the object is, it will hit this and bounce green onto this roast. Likewise, the rose with the sun hits that rose, it will bounce pink onto the green leaves. So what we're going to go through on this reflected light is we're gonna put some pinks and greens on the different areas. We're going to take the color that we use and just dip our paintbrush in it because we don't want it's saturated with. We don't want to be like this and get it all saturated, tell you can see color all through that. That's not how we want to work this one. We want color on Lee. The tip to play the brush on its side and do a C or a smile stroke, and that is how we're going to do it. We're going to take our tip and usually put it on the outer edge of either the rose or the leaf because we want the line that's more distinct to follow along the more distinct line of the leave and on the inside, because we were holding our brush at an angle on its side and that the brush isn't filled all the way. That means that this line will be more watery. It'll be more subtle and will be more blended. We're gonna take the green, and again, this is a little more water down. We don't want to water down. We still want pigment in it, but we do want it water down. It's a medium value. So what I'm going going to do now is take a little green color. That's gonna be reflecting off of that leave onto this road's so I'm taking my tip. I'm have my bank brush at an angle and I place and I drag and pull that color. This is also a one stroke, maybe two, but you start. If I went over this and over this and over this, I would get brown because when you mix a green and a pink, you make a brown. So so let's try that again. Let's do a little reflected light here. I'm taking. I have a lot of pigment in my brush and so I damned it out. I'm going to place follow that edge and drag up. And I'm only making little smiles or frowns when I do that. And when it drives, you will see some of the green. I'm gonna do the same here. I'm going to do it on this side, too. I could do it here. So you're just gonna pick up few spots to do it? You're not gonna go crazy on me and put it everywhere. You're just gonna do a few spots? I'm gonna take pink now and put it on some of the green leaves. We're going to start with my big leave. We'll see what happens if you have too much pigment, which I did because I had it loaded. Um, I'm gonna just water and dry out my brush and go along the edge so it just breaks up that edge a little bit. It's not terrible toe. Have it that dark, but you don't want to do that dark everywhere because it will look like not reflected light . Reflected light is never as intense as the original color that it's reflecting because light almost access the white as well. Okay, so I'm gonna come to hit this point. Start out point now. I could also on this one do a little bit of the center. Now, these leaves are lighter value. So I want to make sure I do a lighter value on those reflected light colors. If I wanted to, if I wanted to break it up and not make it right next to the flower if I didn't want to make it right here, I could do the same here making here, but Or I could come in the center and making a little bit, so I'm making a little bit different. I'm gonna do the reflected light again here. Now, that would be way too intense for reflected light. So I'm gonna had a little water and I'm gonna go to my green leaves again. This time I'm going to take it up here. I'm gonna take it across here, but I'm not gonna go right over my green. I'm gonna put it in this lighter area just so I can be seeing a little bit better. When I pulled in to fill in the green, it pulled some of that pink. So there's that's why I said it was okay if the pink was pulled up when you did the filling in because it automatically made reflected light. So you made reflected light and you didn't even know it. All right, I'm gonna give a little more reflected light here inside, and it just livens up those leaves a little bit. When you add a little bit of that pink, I'm going to now add a little bit of green. Now, since my tube color side is so intense with that value of that darker pink value, I'm probably going to use a little bit darker green than I would normally use on maybe some other well, like on this one. So I'm taking a little bit darker green, and I'm just going to start brush on its side. And that way you can see it now I puddle because I went slow and kind of was indecisive. I puddled there, but it will work to that. My advantage, cause it'll dry up a little bit thicker right there. I'll come over here to my rose sign. No notice. I came outside my rose. You can come outside of it a little bit. It just as a little bit of variety in your color. As long as you're not going green continually on the outside. Come over here to this to this, um, on a little bit more up here. So with my two colors, I could again mix the pink in the yellow and come up with a little bit of orange and run that through there. You might want to test that on some of your other projects so that you can see what color combinations you can come up with. So that's reflected light. All right, that's get four Step nine of the reflected light. We're gonna move on to step 10 which is which our borders. 19. Cabbage Roses Step #10 Borders: All right, we are on Step 10 Borders. We want a border on this to just kind of contain our visual wanderings. What we do have is that we've taken our border and we've broken it up with our leaves. This border I'm going to do lying border, So I will just start here. It could be a thick or thin line, however you'd like to do it. And if you're worried about making a straight line, you can do a wavy line before this one. Do a wavy line, and I'm gonna start here. I went around the corner and I have a little space here and a little space here. I'm gonna take it around now. Technically, there's not a whole lot of space here, But if I don't do something here and there's not a whole lot of space here, if I don't do something here in here, it will look really unbalanced. So I'm gonna force kind of force the wave here, and I'm gonna start here, and I'm gonna make a little wave here now. Since I have too many leaves here, I'm gonna just paint right over that length and nobody's gonna even know it was there before, and that kind of brings it around there. Several borders you can do. I'll show you several other auctions, pick the kind of border you want and go ahead and take care of your borders. Take one last look at your painting before you move on, because after this step moving into Step 11 we won't be using paints or we won't be going back over our work with paint. So take a good look and see if there's anything that you might want to change or add to, and then we'll move on to step 11. 20. Cabbage Roses Step #11 Rose Ink Outline: here we are at step 11. The roses outline Before we get started on this, I want to point out that these have to be absolutely dry before we do any ink work. If it is wet, it all what it does is the paint gets stuck in the nib and then you can't draw with it, and it becomes very frustrating. Second, if you look at this that these are different in the sheen. The palette colors are very chalky. There's a lot of filler in the pigment, and so it This is very chalky, and it tends to get into the nave a little bit more of this. On the other hand, um, the two colors tend to be glossy, and so it kind of is a little bit nicer for the pen because it just skims over the top of it. You notice I was just bending this back. When we paint the water color, the water tends to bend the paper, and so you just have to come bend at the opposite direction, and it straightens out flat again. For this, we're going to use the key concept of thick and thin lines, So I'm gonna start with the Big Rose because this is my focal point. This is where I want people's eyes to be drawn to. And this rose is not behind any other rose. So I will start with that. Now you are going to use broken lines. Broken lines means I just stop and start Also, you don't have to go along the edge of euros. Notice Here I went on the outside of what? The roast waas you and on this area right here I wanna went on the inside of the roast. Same with this area. What we're looking for now are some of these little crescent shapes. Um, there's not very many in this one. There are some over here, are here. What I'm looking to do is in clothes the's crescent shapes. We're making crescents because it kind of gives a little closure A different type of wine as well. You can dio find the light colored crescents or the dark color crescent. Now I'm going to take and just make lines and I'm gonna kind of use some of the lines that I made from my spirals. Like right here. I want to enclose the center area a little bit and more. No, I don't want to stop right there, because there's two lines right there. I want to go overlap a little bit. Or I would have stopped a little bit over there. We don't want to stop where we have parallel lines, the lines stopping. So what I'm going to do is just join us, too. Now, I can go back through here. Had the Kimpton lines, look for where I naturally already made it thicker. So I'm gonna do that dip a little bit thicker here. I made it a little bit thicker along this line, so I'm just gonna go ahead now you see how it adds a little more visual interest. Now, what you want to do is well, is Look at this and not just have thick and thin lines on one area. I can think anything in the end point. If you're Penn gets a little gummed up from the paint, the dried paint just rub it around, get it off. That's what you do. Your Step 11 buying outlining your roses and doing a little line work and using a little thick and thin. And try that out next step, which will be step 12 and we'll look at the centers 21. Cabbage Roses Step #12 Rose Ink Centers: This is step 12 the rose Centers. We just finished doing the roses, the outer edges and the pedals, and we've done the thick and thin lines. And so now we're going to move to the centers on the centers are a little bit different in their line quality. They're smaller, they're shorter space. The wavy lines are further part, and they, um, have a big wave. Our centers are me different, and we're going to use the little marks that we've made here. I'll use these shapes a little more, and I'm not gonna follow along the shape. Exactly. And I'm actually gonna bring that pedaling a little bit to kind of enclose it. And I will also go through these. And I tend to do a little thick and thin while I'm doing the first goal rooms. So because it's such a small area, it tends to create chicken through lines just on its own. By the way, we write or draw. No, I'm not gonna go outside of the line, even though some of these centers went outside of the centre circle. But I do sometimes, but not generally, so that gives a little bit different fuel then the outer lying work does. So that's it. It's just a little scribble lines, and you can go back into those and do a little bit of thick and thin, but you won't do too much. You don't want to make it too heavy because those center of the flowers air light and fluffy. A lot of times, So go back in and just do a little thick and thin lines, and we will be done with Step 12 and we want to step 13 which are the big leaves. 22. Cabbage Roses Step #13 Big Ink Leaves: All right, here we are it Step 13 the big leaves and outlining those again, Like with the roses. We don't have to follow the outside of the line. Exactly. You can. And and that would look fine. But you can also add a little personality to those outlines as well. So I'm gonna start and I'm going to go really lightly on this because even after blow drying it, it was still sticking a little bit. So I've done lightly and I haven't gone exactly on the edge. And I've used broken lines and you can see where I've gone thicker. I can just go ahead and make that line a little sticker because that's what I naturally made it thicker when I was drawing. Also, if you notice here I went way past the point, and I didn't bring the point out this way where it was kind of basic. I kind dragged it around because I want to kind of keep it in that border. I'm gonna go to the other side, and I noticed I don't have to be on the outside. Exactly. I can come a little bit in again. Here's where I went thick naturally. So I'm gonna go thick there. I wouldn't think naturally right here, and I'm gonna add a little bit of thickness right here at the base of the leaf later. But now I'm gonna do that center line. I have to a center line so I can do either when I want, but usually on the bigger leaves I do to center lines for those a broken line. And I'm kind of following alone. And I'm just gonna join. I'm gonna attach down here. You don't have to attach. I just sometimes like to, because I get too many points that are unattached and it starts toe look a little bit unfinished. So, like I messed up, so I just would make this a little bit thicker. And that's nice thing about thinking thing. Mines to you don't have to be asked precise spinning around. And I'm gonna do the same thing again. I'm going to start in stop now. I kind of like how sweeping that minus. So what I'm gonna do is I'm just gonna go sweeping across one with it and then stop and make a little light. Now, these air kind of squiggly lines these air. Not a perfect line. They don't have to be perfect. And that's the nice thing about this. I'm project is that it doesn't require you to have necessarily a steady hand or to be an expert. These are kind of looking the same, saying I kind of would like one to feel bigger than the other. So what I'm going to do for this one is draw the lines more toward the inside of the leaf. And on this one, I'm gonna draw them more towards the outside of the leaf. So let's do this one. Because I want this one to be bigger and overlap that over that leave, and I'm gonna get stem out there, and I closed it up here. You don't always have to close them. You can leave them open the bottom of my center of the leaf lands over here. My rose And I don't really want it there. I don't have to follow exactly what I did, and I wanted to be more curbs. So what I'm gonna do is I'm gonna start here in the sense for the Rose, and I want to bring it up and just totally ignore that and I can do that because I am the designer. I decided what I want to dio. So I kind of ignored that you really can't even tell that I ignored it so that I made a little bit bigger. And this one I'm gonna make a little bit smaller, so I'm going to start, and I kind of like this sweeping line, but I'm gonna do the sweeping mind just on the inside of it. I've made those two leaves different sizes. Now, I wish I would have broken up that line or this line broken up one line, but I didn't, So I'm gonna make sure I break up the lines through here. So that's the end of step 13. Then we'll move on to step 14 which are the baby leaps. 23. Cabbage Roses Step #14 Baby Ink Leaves: This is Steph 14. The baby leaves. We are almost done. This is when we make the marks that will determine the shapes of the baby leaves. Now, you've had enough practice of using the pin in the larger areas. So I wanted you to do that so that when we came to these a little or areas that you were a little bit more steady in your pin work before you started that air in these areas. Hey, remember, scale when you are doing this large and small. So this is the end of step 14. The baby leaves. Amazing. Were on test at 15. Next, and just finish up and clean up our work a little bit, and then we'll be done. 24. Cabbage Roses Step #15 Borders & Tendrils Ink: All right, this is step 15. I'm working on the supporter and I'm working on the outside of the border Broken line, and I'm kind of doing it. Not a little wave yet parts. So I don't have to worry about Clay perfected lying. Now, when I'm looking at that, I see this in it over here, and it seems a little empty compared to the other areas. So I'm just going to do a little we're dealing with now. The tenderness you can practice doing tendrils by drawing. They were carefree lines. They're the things that take the plants and attach them to different. Um other bynes are they help support to print. You just go over practice some you could technically draw on, but if you and go over it. But if you don't go over the line perfectly, it will show. And if you erase it, you'll be flattening those fibers or you'll be removing some paint. So it's best to just doing Freehand. Look for areas that are a little bit empty right next to the baby leaves were in between the big leagues and just have a few. Yeah, this one is very busy, so Technically, I just not going to put in you tendrils. I will go back, though, and reduce so thick, thin lines on them. And then at the very end, I will sign it, and I use my initial. That's how I sign some of my work. And you kind of look for a little opening. And there you have your 15 step cabbage rose. 25. Cabbage Roses Project Info & Design Help: I hope you've enjoyed this watercolor cabbage rolls class and doing the demo. And now you can move on to your project, especially event invite. Now you're going to take the principles you learn in the class. Can a pie them? How you would like to apply? This isn't really a design class, But since you are going to do this, I wanted to go through my process a little bit so that you weren't just kind of left out there to figure it out by yourself. You can take one and do one large one and remember how we started. It was circles, and it's the smiley face grounding face. Leave some leaves out from there. You can see we have the same spiral. Then we have the same leaves, the same inking. We have reflected color, just like we learned. And I didn't even do thick and thin lines with this. But I did a little variation with a different color in the center. But pretty much everything is the same from this project to this with those slight variations. But I did make it larger in scale so I could put this on an invitation that would fit in a number 10 envelope. Here's this when we simplified it and I've taken the roses and put them in the corner. So this leads a lot of space for writing and I tried some different variations of color, but it's the same principles again. Here's a different one straight line across. I took those three roses and just moved them in different places. This is large, medium and small. So I've just taken those and you could there almost even the same size. And then I've added the smiley face. Frowny face leaves. So here it is. I tried clues so you could see that it doesn't have to be a standard color. It can be whatever color you choose. Now, I'm taken this same design, but I'm just arched it. The only thing I do different on this is a leave, a trend or something down as far as it is on this side. So when you're designing yours, think about that. I could end tendrils to this. Um, I could even add a border to this if I wanted to. And here is a corner application. I've just drawn a straight line straight line, taking my large, medium and small arch, medium, medium small, and I've done it with a little purple. My last example. I wanted to do this one in different color roses so that you could see you could make a combination. We did a limited palette with this so that we didn't have to complicate our learning process with extended color choices. But with this, you can do as many colors or how ever whatever you want. Now it's your turn to complete a project. Remember, it is a special event invite. You can dio a number of invites. You can do one and copy them off. You can do it any size, any color for any event. When you're done with your project uploaded in the Projects gallery, we'd all love to see them until the next class.