Flowers With Watercolor - Fresh And Loose Painting Tips | Robert Joyner | Skillshare

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Flowers With Watercolor - Fresh And Loose Painting Tips

teacher avatar Robert Joyner, Make Art Fun

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

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

13 Lessons (41m)
    • 1. Introduction

      0:43
    • 2. What You Need To Know

      0:52
    • 3. About The Design

      2:51
    • 4. Part 1 - Design Materials And First Layer

      5:03
    • 5. Part Two

      5:33
    • 6. Part 3

      6:43
    • 7. Part 4

      2:41
    • 8. About The Design - Demo Two

      4:02
    • 9. Demo Two Part 1

      0:39
    • 10. Demo Two Part 2

      5:53
    • 11. Demo Two Part 3

      4:08
    • 12. Demo Two Part 4

      1:19
    • 13. Class Project

      0:48
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About This Class

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Learn a variety of tips and techniques for painting crisp watercolor flower artwork.

  • Features step-by-step video demonstration.
  • Up close video footage for learning techniques.
  • Tips for better designs
  • Get feedback on your project submission.
  • Ask questions and get answers.

Suggested Materials

Paper
(2) 15"x11" Watercolor paper, 140 lb. cold press (or hot press)
Watercolor hues (Robert's palette)
Cerulean blue, Cobalt blue, Ultramarine blue, Cadmium red deep, Alizarin crimson, Burnt Sienna, Gamboge nova, Yellow ochre, Neutral tint, Lavender, Viridian green, Burnt umber
Brushes
Squirrel mop #2 and #5, Kolinsky #12 (soft bristles), Pointed round #10 and #12, Escoda needle (or liner)
Other
Majello leakproof palette, Collapsable water reservoirs, #2 pencil, 2 Sponges, Paper towels, Masking tape, Foam core

Who is this class for?

Intermediate watercolorists that have good basic techniques and want to learn more about painting expressive watercolor flowers.

Need Help With The Basics?

I have two beginner courses that explain many of the basic techniques shared in this class. The links are below if you need them.

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Watercolor Flowers; Wet-In-Wet Techniques

Flowers With Watercolor - Fresh And Loose Painting Tips

Tips And Tricks For What To Do With Your Bad Watercolor Art - How To Turn

Advanced Watercolor Techniques - Working With Values, Reflections And Capturing Light

Advancing In Watercolor - Intermediate Tips & Methods For Painting Fast & Loose

Advanced Watercolor Landscape Masterclass

Advanced Watercolor Class; Brushes, Values, Layers & More

My Drawing & Design/Composition Courses

Painters Guide To Design And Composition - All You Need To Know In One Class

Unlock The Power Of Interlocking Shapes - Intermediate Design & Composition Class

Improve Your Basic Drawing Skills With Easy & Fun Exercises

Linear Perspective Techniques - Learn To Create Depth On A Two-Dimensional Surface

Meet Your Teacher

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Robert Joyner

Make Art Fun

Teacher

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Transcripts

1. Introduction: Hey, you guys, Robert Joyner here and welcome to my shameless promo video, where I have to convince you that you must sign up for this class in these lessons. I wish you're not just one, but two. Quick and lose flour with water comes. But here's the deal. You have probably heard all this stuff before, but maybe this needs some inspiration or a little kick in the pants to get going. And that's the Kings. Come on inside and let's paint some flowers together. But wait years for Actually, there's not. I got a cell of people. That's what I'm trying to do, some flowers together. 2. What You Need To Know: Okay, so this is an intermediate class, so I have to assume that you have some basic knowledge of watercolor painting. But if for some reason your beginner and you're just browsing around, you decide to try this course out the mess fine in the class, you will hear me use certain terminology about techniques. So if you want to learn more about the specific techniques, I have two fabulous classes here on skill share that cover those. I will leave a link or to in the description area, and you can just go back and look at those classes and learn more about those specific techniques. But again, since this is a more advanced class, then I won't cover those again in these lessons. But if you watch those beginner lessons, you still have questions. Always feel free to reach out. That's what I'm here for. 3. About The Design: So my thought with the enemy's waas the image was good, but I wanted Mawr interest in the background, and I wanted to differentiate the value between the background in the foreground and the inspiration image just didn't give that to me. So what I wanted to do was fix those problems and then the last thing waas creating a little more foliage or leaves that the u Nimet ease have. So I felt the image was a little bit too sparse with that. So just to address background issue, I thought it was easy to do something like this. Yeah, aan den, perhaps add some sort of saucer or something for the vase to sit on, and then that would just make it a little more engaging and more interesting to pain. So basically, if I start to Sprinkle in and my flowers now because I have this darker value back here, you can see how that would kind of pop those flowers and then letting that kind of darker value trickle into the cast shadow. Now, over here, I can use that medium value. That is, from the image that new this centers, we're gonna have these kind of darker little circles in there. Um, so that kind of gave me, I think, something to sink my teeth into a little bit. And overall, I think it just made it a little more exciting, the pain, but again. And it was just very, very simple changes, little tweaks that, um kind of bring a painting to a more of a personal gives it a more personal touch. And ultimately, I hope no course at it enhances the overall painting when it's finished. But that's kind of my idea with this one, and that pretty much covers my thoughts on design. 4. Part 1 - Design Materials And First Layer: now the first step will be laying in the design, and I use a number two pencil and just try to create fairly light marks. I always start with the longest line first and then work my way to smaller lines. Now I'm starting to lay in an oval for the saucer and then finding the next biggest shapes , which will be the vase and then into some of the flowers. Now notice. I'm not trying to be too meticulous and exact with the flowers. I just get the big shape placed in a general area where I think it will look good and then I move on. OK, part of painting loose is being able to just leave a little bit of wiggle room. So you want to capture a little bit of new reality or represent the representational qualities, and then the rest of it can just be indicated very loosely. Now for materials, I will have to mop brushes on number eight and number five two point it around at number 10 and 12 Kalinsky number 12 and then a needle brush. And now for palate, I'll do cerulean blue, cobalt blue coach, Marine Blue cat, read deeper lizard, crimson burnt sienna, yellow Oakar gambles nova neutral tent, surly and blue for guest colors. I have burnt number and then some Meridian now also will use a sponge to dry off my brushes . And then I also have two reservoirs, one to clean and then one for just clean water. In general, the paper is 15 by 11. I use masking tape to a piece of foam core for this demo that'll keep it from waffling and allow me to tilt the board also have a sponge there that will tilt my board slightly as a paint. Now, using my number eight mop brush, I'm sorry. That's the number five. I would just use some warm hues here. So starting with some gambo Judge anchor and then a little bit of the burnt Sienna and some neutrals that are on my palette already. And as I'm laying in this wash in addition to just being loose with the edges, um, I'm also mixing up the colors a little bit and you'll see me go in there and just kind of put in a touch of other color here in the air, and that will keep the background in the wash. Kind of interesting. Now, as I'm going into this wash here on this, creating a little bit darker value as I moved down. So I'm just putting it in, putting in a little more neutral tent to do that. Okay. Now I will start to mix up a light warm value using jokers, gam bows and some of the neutral that are all my palate. And then this mixture will be used for the left hand side. Now, Azzam laying this in, I'm trying to keep it fairly light. Okay, so Ah, very transparent. And the idea is to have a light side, which is what I'm working on now and then had that little bit of a dark corner on the right hand side. And again, the same thing is happening with this wash. You saw me, dad and a little bit of that. Ah, gam booze, new va. And that just gave it a little pop of yellow. And you'll be surprised what a difference a little things like that make in the final painting. So now, just moving into again. Finishing up the wash a little bit and then starting to tie the left and the right hand side together by just blending them a little bit. Now finish up the bottom right hand side as I add even darker values. So really getting that, um, contrast going with but will be, eventually the tabletop at this point. You know, I think it's about just looking at what you have. And then I'll use a paper towel to clean up the edges that'll keep that excess paint from washing into the painting. And now I'll just tell the board a little bit as a drives, then a little bit of finger smudging there just to create some soft edges, maybe fill in a few blinks and finish off a few shapes. OK, now the name of the game here is a letter dry, and when it does, you know we'll come back and at the next layer to it. But right before I do, I'll just add a little more papa dark there just to make sure that area is nice and anchored 5. Part Two: all right now is dry to the touch. And I will use a little bit of Ah, the cat red deep here with some of the neutrals I had and warmer values on my palette and living in a very thin layer for that table top. I don't want that to be to, you know, loud. So just keeping a transparent will help do that. And I just touch a little bit of that in the background. And that would just help create a little bit of harmony with the painting. All right, now, just using some really thin layers of grays and neutrals and just starting to indicate the glass of vase and, um, also some of the grays that are on the table top. As you do this, it's always good to slightly shift your hue. So you saw put a little bit of lavender into my brush there, and that is creates a little touch of blue so that, you know the plate isn't all one particular color. It's good. Teoh just have subtle shifts and Hughes and colors, and I would is create a little more interest. And there I just use a little bit of clean water to soften that edge so that that edge wasn't too hard. The flowers have hard edges. I didn't want to compete with that. All right, this is all coming along pretty good and now switched to my Kalinsky and start to add the centers and the senators air just really a green dot and then eventually will come back and put some little yellow details around those as you do it. Just make sure you always very where the centers are, don't put everything exactly the same. So you don't want him all placed in the center. Have a little bit of variation of variety there to keep it interesting. Now, just putting in some of the foliage in the leaves and my inspiration image didn't really have a lot. It was actually a lot of the leaves were pruned off of it. But I did a little bit of research and found that these particular this particular plan has some pretty big leaves. So I went ahead and added some of those just for variety. I thought it kind of added a little bit, um, to the design of the painting, but ah, now just indicating some darker foliage and leaves on the left hand side. And that will hopefully be the darkest value for this particular painting. That in the shadow under the plate or the saucer, but kind of keeping those really dark values around this particular white flour will help create make that of focal point. OK, so that's pretty much where I'm after, and and now just basically sprinkling in a little bit of that foliage here in the air and loosely the whole time. So I'm not a sleeve to my image. You know, I'm always, um, trying to work loosely and trying to let the art that's in front of me be the indicator. And what is going on? What I want to do next, Okay. You're always want to react to your painting and not so much your image. Okay? And now it is laying in a dark shadow and not going to dark. Okay, that mixture is about a milk consistency, and now I'll use a nice thick honey right under the plate. Am I say, honey? I mean, I mean really thick and heavy. Okay, so ah, more pigment, toe water, And then just let that bleed, okay? now just using my needle brush here. I'm laying in some stems and little details. You can see that area was wet right there. I didn't really want that to spread a whole lot. I felt like if it did, it would compete with the foliage and the greenery That's above it. So I want to keep this area where the the vases, glass or plastic, whatever it may be somewhat light, so I don't want to be too heavy. So more there to be some separation from the foliage around the flowers and then into the kind of quiet area of that vase. Now, just going with some darks here, and I'm going to beef up some of the foliage here and allow that at this point is pretty dry and maybe slightly damp. But you know what? I'm working under the lights like this. It's gonna drive fast. And if you work with our color, you know what's going to drive fast anyway. So again, just kind of working those stems a little bit, and all the while slowly building up certain areas of the painting you can see here. I'm so adding foliage in different details of the flower. I'm still using the needle brush. I could use another brush there, but the needle brush will get the job done. Just fine. OK, at this stage, I think it's important Teoh let it dry and when it does, we'll come back. 6. Part 3: At this point, we are dry and this time for the next layer. But before I do, I'm just going to lift and to do it, I'm using my Kalinsky. And it was damp. So very clean water as well. Important to always lift with clean water. If not, you're just one of staying the paper and Bruin the paint. This there. Okay. Now, using the sustainer eraser, I'm going to remove the layout lines and then that will clean those flowers up a little bit . Typically, I don't mind if my lines stay in most of my watercolor art, but for these watercolor flowers, when these white flowers Really, I think it looks best if they're crisp and we remove him. Okay? Just whenever you're doing this, don't put a lot of pressure into your paper. Use a really light, um, stroke. And that way you don't disturb what the water color too much. All right. Now, using my number 10 pointed round and a little bit of the greenest blue neutrals there, um, I'll test the hue, of course, to make sure I get that right. But the goal here is to add a very light, delicate stroke to these flowers and you want to indicate a little bit of light and shadow and because they are ah so white and they're set against the dark foliage of the leaves and everything, Then we don't want to push him too much. The idea is you, in terms of the design is you had these white shapes against a dark shape. So if he add too much of a dark value on the flowers, then you're gonna lose that design element. OK, so just a little touch here in there. And as I apply the value, trying to also indicate a shape of a leaf or two. And then the idea on that is, if you if you can basically represent one or two leaves really well or pedals on the flowers, then the rest of them can fall apart a little bit. They don't have to necessarily be perfect, because once the viewer sees one pedal and they connect to it, then you the rest of it just simply doesn't matter. Okay, so now, still laying in a little bit of these very light values. And, you know, I encourage you and would recommend that you just go a little bit at a time. You better off to go to light than you are to go to dark. All right. Ready to move on now and just mixing up some neutrals and I will go back in now that this saucer and plate is dry and adds the darker values in there and keeping it loose all the while, it was important to stay loose when you're doing this and things don't have to be 100% perfect all the time. Beauty is really in the imperfections of all this stuff. Okay, now, just beefing up that cash shadow a little bit. And for cash shadows, basically, you know, you want the value to be a little darker near the object. And if you can get that part right, then you it tends to look pretty good. If if he don't get it right, then sometimes it will look like it's floating. So why now? Just adding some more values to the saucer and then a little reflection there on the saucer as well from the V's and just, you know, subtle details into the base. And, um, I've ruined a lot of art this way, but just, you know, don't put a lot of emphasis on that. Keep it. Keep it quiet. Okay, so now going back in and just defining a few pedals and touching that oppa's I go and no. Slowly but surely, this thing is starting to come together a little bit now, using the needle brush, I'll grab a little bit of, Ah, guess a dark value there and just indicate a few, um, stems. And also, this particular flower has some like blooms that aren't quite ready to go yet. So how add some of those as I work with this needle brush as well, and again, you don't overdo it. And if you need a splash of darker value here and there just toe accent, some leaves and foliage and stuff like that, then you can go and do that. And just new at this point, working slowly, the painting is in, you know, a middle to late stage. So, you know, the easiest thing to do is to over paint, so just make sure each stroke you do each decision you make, you're confident about it. And then that way you don't fall victim of ever painting. Now, this adding touches of dark here into the leaves, adding some stems that will, um, connect the vase to the flowers basically, and that paint on the base to was still slightly damp is you can see When I added that stroke of the stem in that base had dissolved a little bit, and that gives it a nice finish because basically, when you see that through stem threw a vase, they're going to lose clarity a little bit. 7. Part 4: would this point, Everything is pretty much dry, and I will use some whitewash. That is whole buying brand and my number 10 pointed round. You see, I'm just dipping the tip in there, and then I'll give me a little bit a little more control over it, and it's adding a few highlights. Ah, few reflections on the saucer capturing a few edges here and there that were lost. You can do that for the flowers as well. So if you have a shape or two, that's just simply not doing it for you. Then feel free to use the gua sh You know the easiest thing to do again. It would be to go too far with it, so just ah, there you use it sparingly. But don't be afraid to use it. If you feel like is going, Teoh, enhance the finish of your painting. And when you're putting this on to you know, just make sure you put it on nice and thick. You don't want to put it on to thin. Ah, the idea is, you decide what you want to do with it and then, like pretty much everything you Now you go for you don't wanna be wimpy about it. I guess. And and then I will keep you from creating art. That's just a little bit indecisive. Now, just a few more finishing touches here, and this painting will start to come together. And what I'm doing now is mixing up a little bit of a light green hue. I'm using Meridian, a little bit of the gua sh some yellow Oakar and then always testing that a little bit on a scrap piece of paper just to make sure it is what I'm looking for. But I'll just drop a few of these and in various places, and then that's just going to give it, um, a little extra punch and a sense of detail, I guess So, once we get these little green touches in there, then we can really start to see how this is starting to really finish up and come together . And that will pretty much wrap up this painting. I hope you enjoyed the demo Hope you learned, and I will see you in the next one 8. About The Design - Demo Two: So for the Deasy's, I had an image that I liked. The only problem is I wasn't happy with the entire scene. So, like the way the flowers were basically bunched in this kind of movable pattern. Um but I felt like the hot was a little too squatty. I wanted to create a better shape. So what I did was basically take this idea and I situated the mobile at the top from here. And then I made the vase kind of like a glass jar. So I have a little bit of this almost hourglass tape of look to it. And then from there I thought I would be good to make sure that big impact arm was owned the flowers. And to do that, I thought putting a darker value in the background was ideal because of flowers are weight . So my I didn't want to do the entire background because then I thought, like it would be too is the pain will be too dark. So what I did is basically did this sort of thing. So have this shape. And then I added a darker value here. Now from there the daisies, very dark things and I knew that the leaves could help do the same thing, the background, it and that's cookie contrast with the white flowers. So what I did there is use that dark about you as a way to again do some negative space painting by indicating some of the edges of the flowers so it can. It ended up like this. Now I've got a dark value. I've had dark value. I knew the centers of the flowers would be a darker value to maybe not as dark as the background of the lease. But they would kind of Sprinkle in there. So my thought now would be to create a medium value here. So the idea was to do something like that. And then I could come back with my shadow, and this would be a cash shadow and create something like that. And of course, we would have some stems and things going on in here that would help fill this space up. Then, from there, I just decided to do a little a little shape here, something like that. Just add a little more interest there, but we look at its design. I mean, you have dark like star, medium, medium, kind of medium dark, and that's my idea on the design 9. Demo Two Part 1: using a number two pencil. I'll start to lay in my design, and I just kind of find the bottom of my base there, and then I'll just find the top of my flowers. Most on the over the top in the bottom are that can start to add in the larger shapes and their work my way to the smaller ones. It's important not to go for smaller shapes too fast, because if you don't know where the top in the bottom are and the main shapes for the bigger shapes, then chances are you gonna run out of room or just not place things where they need to be. So once this design is finished and laid in with the pencil, we can get to painting. 10. Demo Two Part 2: all right. Using my number five mop brush, I will use up a selection of neutral is here. A lot of that's just leftovers from my palate, not recommend. Whenever you're done with the painting, leave some of those colors own there because you can always reactivated with water and create some really nice neutrals. And neutrals are a great way to balance out color and your painting. And in this case, I'm using it for my background. Um, every painting is slightly different. But for the most part, I would say starting with the background is a good approach, especially with these flowers. We're doing these flowers with more of a dry technique, so we're not going to do a lot of like washes where we basically put a wash on the entire painting. The idea is we're going to kind of take everything and pain is we go. So starting with the background as I lay this in once is in the air is going to be done. Okay, so I don't wanna have to go back in there and, um, add another layer to it. The idea is, we do this almost an olive prima way. There are certain stages where I will let the painting drive, and then I will come back and maybe add something over top of it. But for the most part, as I'm laying in this background here, I'm doing it with the intention that once these Hughes air in there, they're done. All right, so now I'm moving on. So doing some negative space painting, they're basically gave me the being shapes of my flowers. And now I can start to add some foliage as I add all these leaves and stems and things like that. I'm also thinking about the edges of the flowers. Some I'm still negative space painting. But instead of using the background, I'm just simply using the leaves. Okay, I don't want to use the same Hugh all the way through. So if I have the same family of green greens and I'm using that, I'll mix it up. I'll do some kind of Oakar kind of warmish greens. I'll do some darker greens. I have a little bit of ultra blue or cobalt in the air, so you get more of a cooler green and general, and then I'm also playing with transparency, and you can play with transparency by either using thinner mixtures. So when I say thinner, I'm referring to, um, like more water to pigment and then kind of vary it with thicker pick our mixture. So in that case, you would use more pigment to water. So if you do that, then you're you're layer, and whatever it is you're painting will have a little more interest to it. Now again using neutrals there, I just laid in the vase. You know my advice when you're doing glass vases and things like that don't try to overwork it. Less is always best, he said. I just had a few splashes of color and I left. I got in and I got out are now. I'm just still working with some negative space painting, kind of working my way from the background to the middle ground there and all the while looking at those flowers, looking at the edges, trying to maintain good edge quality so that when I'm done with the background the leaves in the middle ground, the flowers will be almost complete. I may have to add some centres or a few details or shadows in there, but for the most part, I won't have to mess with it much now as I'm laying in. These are huge in the background there. They're just a little bit thicker. Okay, so think milk. Okay, So if t is a thin mixture, very water down, milk is thicker and it's going to be in terms of watercolor, more saturated with color. So now, just as I added that background area, I was using more of that milk mixture to get just some darker values in their in another level of transparency. So if everything's too thin, that is going to read week. If you add thicker mixtures in there that is going to read better, it's gonna have variety. And variety is a good way to make your paintings work. But if they're all the same, if you're washes are the same in a big area like that, then you're dealing with equality. Inequality isn't doesn't always work that well, come with your art, are so now just working with that middle ground, still bringing it into the foreground by putting those shadows in the air and working with now very thin layers for that kind of foreground. So I don't want to overstate it. If you ever state the foreground and you put too much detail on emphasis in the foreground , then that's where the eyes going to go. I want the people and the viewers to see the flowers. Those are the stars. And so, by understating the shadow of the vase or the cash shadow, anything happening in foreground gives me a better opportunity to let the flowers become the star. So now this laying in some centres there with a little bit of orange and cat red, maybe a touch of crimson there. And now this. At this point, you know, this wash is pretty much done, and I'm just going to let it rest and when it drives, will come back and have a look at it. 11. Demo Two Part 3: all right at the stage. Everything is dry and I will start by just mixing up a little bit darker orange here. I just had a little cat read a little touch of ultra Marine blue to that, and that's just going to give the center is a little more dimension feeling of light and shadow, that sort of thing. All right, Now, just using a little bit of a light yellow. I just want to break that center up a little bit. They were just too tight. So it is using a similar color. So that kind of yellowish and spreading that along the center there, this kind of broke it up and is loosened, all of them up. So we do a little change like that toe one. Sometimes it effects all of them. So it's a good way to to just add some Lucent quality to it without going too far. And now, getting into the vase, I want a feeling of some stems and there so it is, adding some green hues to to start that out and then just will indicate, um, a little bit of water and different things in there. But again as I mentioned before. Don't Don't try to do too much, and in this case, I probably went a little too heavy in there. So all blot out some of that and you see taking lifting some of that paint there, air that out a little bit. And I got rid of the density that was in that vase. And I don't want that to be very dense because we look at the foliage, the leaves, they're already dense. And if he put a dense shape underneath that, then it's gonna be too much. So lifting it really helped. So now just building up the shadows, um, doing some dry brush and using like Kalinsky for that, um, that just kind of creates a little more shape there, and it builds up some of the strokes already already have. And now just working with some blue values here just want toe think, brighten up the background a little bit just by adding a touch for two of that. And I just felt like the background was a little too pale, um, and competing with the white of the flowers. So just adding a little something A few marks in there, um well, kind of again. Make the flowers the center of attention. Which is what I wanted Dio. So now, building up, going back to base here, just add a little drop of green in there and then just try to indicate a stem and using my number 10 point around, um and know that all of that pretty much in the vase there is pretty dry so I can get that feeling of a stem now without the without the colors running too much or being too wet and bleeding too much are so now using my pointed or my needle brush. I'll load that up and just do a little splattering Now does create some new loose energy in there and just kind of enhance the overall loose quality of the painting. And then I also run a few stems and darker values, and there are using that brush. And so just trying to get, uh, as much done with it as I can while I have in my hand and just building up leaves little by little and all the while just trying not to over paint, which is at this point, it's easy to do. I mean this painting is near the middle to the end stage, and the tendency is to go too far, so just kind of take it to a point where you feel comfortable and let it rest. 12. Demo Two Part 4: So using some whitewash and my number 10 pointed around, I'll just add a little splash of white on the flowers and maybe highlight or two on the glass face. And at this point, you know the painting. Is it done? You just want to add some finishing details. A little pop here in there, maybe capture on edge of belief or something like that. A shape that was lost. And that's it, you know, Um, so, yeah, I just had a few of these and then I think we'll be ready. Toe add the signature and have a look at it in natural light. The's film lights are pretty good, but they don't They don't really capture the true color. At least I can do it. But here it is, a natural light. I'll just give you a quick tour of it and and that's a wrap, you guys, So keep it light, keep it fresh, keep it loose. And, um, good luck with giving this ago when I hope that this lesson and the syriza helps you in your watercolor journey. Thanks for watching 13. Class Project: for the class project you're going to create. What are color painting? Using one of these two examples or long of your choice. Now, these air fairly small, 15 by 11 inches. I recommend that you paint small. Keep it fresh, keep it loose. Keep it quick, smaller you paint, the quicker things can come together. When you're done with that, be sure to post your project so I can have a look at what you're doing. But the key to learning is you got to roll up your sleeves and get to work. Watching is learning is part of getting your art the next level gaining knowledge by the physical part of you Participating is the next stage, so look forward to seeing what you do and congratulations on getting through the lessons.