Loose Watercolor Florals | Kolbie Blume | Skillshare

Loose Watercolor Florals

Kolbie Blume, Artist

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14 Lessons (2h 14m)
    • 1. Intro

      3:11
    • 2. Materials

      7:28
    • 3. Warming Up

      7:49
    • 4. Techniques: Petals, Part 1

      6:51
    • 5. Techniques: Petals, Part 2

      5:14
    • 6. Techniques: Petals, Part3

      6:44
    • 7. Techniques: Leaves

      8:28
    • 8. Tutorial: Rose

      11:24
    • 9. Tutorial: Poppy

      17:03
    • 10. Tutorial: Cherry Blossom

      18:47
    • 11. Final Project: Layer 1

      15:26
    • 12. Final Project: Layer 2

      14:45
    • 13. Final Project: Layer 3

      8:03
    • 14. Recap

      3:12

About This Class

Paint with me as we break down some basic techniques for loose watercolor florals! It took me a long time to figure out how to make loose florals that I was proud of, and now I'm sharing some foundational principles with you! 

Transcripts

1. Intro: Hi. My name is Colby, and I am a self taught watercolor artist here today to talk to you all about loose watercolor florals. If you've ever looked at a wreath or a bouquet painting like this warm and thought to yourself, Man, that is so beautiful. I wish that I could paint that, but just had no idea how this classes for you. Now I want to start with a little disclaimer to say that this class is about loose watercolor florals meeting. We're going to learn how to paint loose more, more abstract representations of florals as opposed to photograph like very realistic florals on. And one of the reasons I like Teoh use watercolor when I paint loose florals is because watercolor is by nature kind of chaotic, and you have to lead into the chaos in order to achieve really stunning, beautiful results. So the mixture of watercolor and thes loose, more abstract florals, I think, is a great combination and a perfect place for beginners to learn how to paint beautiful springtime floral pieces. Um, also as a disclaimer, I want you to know that florals and I have not always had the tightest of relationships. I if you've taken any of my other classes, you know that I lean a lot more toward wilderness landscape kind of scenes when I paint with watercolor on florals. For some reason, just it took a long time for them to click with me. And even when I learned how to paint them, it took me a while to figure out how to analyze exactly what I was painting and how to break it down. But over the past few months, I've been working really hard. Teoh break down some of the beginner techniques of thes loose watercolor florals that helped me understand them how to do them better. And so now that I've figured that out and cracked that code, I want to share those secrets with you. So in this class today, we're going to be talking about ah, few different brush strokes that I use in order to build florals, to create the florals as like built the building blocks of these flowers. We're going to learn how to paint a wreath just like this one by creating arose a poppy and cherry blossoms. So those were the three main florals. We're gonna be focusing on, but the strokes that we talk about you can use to create lots of different florals. And then we're also going to be talking about how to paint leaves because leaves have been my nemesis for a long time. I really want to break them down so that you don't have to have the love hate relationship with them. That I do so before this intro video gets too long. If painting a wreath like this one sounds like something that you would like to dio and if learning my techniques for breaking down basic loose florals is something that sounds interesting, then I hope you enjoy this class and I cannot wait to see what you come up with. See you soon. 2. Materials: all right, before we get started diving into the techniques, let's go over all of the materials that were going to use today. If you've taken any of my classes, a lot of these materials will probably look the same. But for those of you who haven't, I am going Teoh take you through some of my very most favorite painting materials to use for any kind of project, including loose watercolor florals, which were doing today. First up, let's talk about paintbrushes. So when I'm painting loose watercolor florals, I like toe have basically three different sizes on hand when I'm doing typically sized paintings. So typically size for me would be either a small painting where painting, that's, you know, maybe nine by 12 inches. Um, I like to have my large brush be a set around round in shape size 10 and then I like to have a medium brush round in shape, size six and a detail brush size zero. Ah, you'll see all of these are different color handles. They're all Princeton brand, but they are, um, different. Siri's and I just wanted to showcase all of them because I enjoy all of them. Um the first. My number 10 is the Princeton Velva Touch Siri's. All of these brushes are synthetic sable hair, which means that no animals were harmed in the process of making these. And I actually prefer synthetic sable hair too rial sable hair because I think it's a lot easier to control um water, which is one of the most important things with watercolor. So I prefer synthetic eso. This is Princeton Velvet touch. You can recognize it by the dark red handle. It's also very soft to touch. The second is, um, uh, Syria's you've probably heard before. It's a favorite of a lot of artists, you know. It's the Princeton heritage, Siri's It's more bright red handle. And, um, I really like this. Siri's especially the smaller size, round two, around size number two for lettering, watercolor lettering. And then the next is Princeton Neptune. This Siri's the bristles act a little bit mawr like sable hair like real stable hair than, um, the other to Siri's brushes, too. But it is synthetic, so I like all these for different reasons, But, um, I will use all of these brushes for floral, so I'm going to use those today. So again, that's round paintbrush size 10 size six and size zero. Uh, next up, let's talk about paint. I have some professional watercolor paint here. Uh, this is These are two of the most the top notch brands Windsor Newton and Daniel Smith. I. You can use whatever colors you want. The nice thing about florals is that they come in all beautiful colors all across the spectrum. Today. I am mostly going to be using this Windsor red deep from Windsor Newton and a combination of sap green and hooker's green from Windsor Newton, as well as a little bit of Daniel's Daniel Smith lamp black for some detail work. But you can see this is my palate. I have lots of different colors, and I do lots of mixing on my pilot. The way that I get the paint on here is by having these tubes and squeezing the paint. Ah, and letting a dry for maybe, like a few days, maybe a week, and then it's good to use. So I have a combination of Windsor and Newton, Daniel Smith and a couple other different brands on this pallet. But for today, the florals that we're going to be using are mostly going to be value different shades of this Windsor Red, I might add in some yellow, but we'll see. Um, OK, so that's the paint. And next up we have the palate for mixing. But I also like to have these some kind of separate mixing plate. This is a porcelain mixing plate. Um, the difference between this is a plastic, uh, travel palette. The difference between porcelain and plastic really is how well you can clean it, how easily you can clean the palate. The plastic pallets tend to stain and don't once they have paint on them dried paint on them. They don't clean up for easily, whereas porcelain is this really smooth material that is great for mixing but also is excellent for I'm washing afterward. So I like to have an extra mixing palette on hand, just in case. Next up is paper. I always like to have both practice paper and professional paper for the final project. So the practice paper that I'm going to use be using today is the studio watercolor Siri's from Fabbri ano. Um, it is, you can see it's cold press. I always like cold press because of the texture, and it's £140. I always use at least £140 watercolor paper so that the paper can hold up water really well. And it's student grade because it's not because it's made up of lots of different materials . It's only 25% cotton. So, as opposed to this is professional grade watercolor paper. This is about a Blick premier watercolor block and professional grade watercolor paper is made of 100% cotton. So that's the two main difference. I mean, the one main difference between the two different kinds of paper because my professional papers also £140 Um, but it's made of 100% cotton instead of just ah, smaller percentage, but this is more expensive. So that's why I love toe have student grade paper on hand when I do practice, and then I'll use professional for the final project for and today that is going to be a loose floral wreath. A few other things that I used for basically everybody, every water car project I like to have a couple Q tips on hand to mop up the excess water. Here's my paper towel that I use in between strokes and then a cup of clean water. I also I usually like to have two cups of clean water, one that could get dirty and one that will stay clean so I'd recommend you have all of those on hand, and I think that about sums it up. So without further ado, gather all of the materials that you're going to use for this class. You don't have to use the ones I've laid out. You can use any painting materials to create something beautiful. I just thought would be helpful for you to know what I'm using today and let's head on to the first module. 3. Warming Up: all right. Before we get started learning specific techniques for breast strokes for pedals and leaves , we're going to just do kind of a warm up and practice putting pressure and using water on our brush. So the first thing I want you to notice is when I'm using my paint, my dried palette like this. I just did my paintbrush in water and I have a bit of a drip. So I'm gonna put some of that water in here because I want this pain to be really liquidy. I know that. And if I put it, if I have seen some of these paints, I have, like, little wells. And if I put water inside this little well that's surrounded by all of this dense, dense pigment that I know that my paint is still going to be fairly pigmented. But the more water that I have, the more theory easier. It's going to glide on the paper. Right? But even when I do that, okay, so if I just put a tiny little bit of pressure, I can see that the paint is very pigmented. There's a lot of water on here as opposed to if I put a lot of pressure on here like the full pressure. Then the paint doesn't go nearly as far right. I have to go over it again in order to get that really pigmented watery, kind of look not with loose watercolor florals. We really, really want the paint to be wet. We wanted to be wet enough to blend with its surroundings. And so knowing the difference between the pressure is like if you only put a little bit of pressure versus you when you put a lot of pressure is really important. Um, and so one thing I would do to warm up is, um, test How much water you need, Teoh, How much water you're going to put in your paint, first of all, in like what that does to to the paint this, the more water that you put on your paintbrush and in the little well of paint that you're pulling from your palate, the easier it's You're going to get a nice solid stroke with a lot of pressure. Um, so that's one thing I would practice. I would also practice what pressure does to the value of the color, the value of a color is the lightness or darkness of a color, and in watercolor you can. The way to make a color lighter or darker is by adding water. The more water you adds, the lighter it's going to be. And the less water you have, the more pigmented it's going to be. So that's something that I would test out so that you can kind of get a handle on it before we actually start painting florals. And the key consistency here is for us to get to a place where we can use ah lot of pressure but still maintain some of this wetness here because the witnesses what's going to blend all the colors together and create some of those nice abstract blends that make loose watercolor florals really beautiful? Okay, so along with pressure, I mean along with color and what pressure does with color in general, we just kind of want to see how we can move our paintbrush around. So sometimes let me explain what I mean when we paint pedals and where I'm going to show you how in the next video, um, we need toe figure out how to maneuver are paintbrush Teoh, create some natural kinds of looking shapes. And that means moving the paintbrush and also utilizing pressure in one stroke to make it look a little more natural. So we're gonna I'm gonna go more in detail what I mean regarding pedals in the next videos . But what I want you do practice now is to go from using a little bit of pressure to a lot of pressure to a little bit of pressure like this. And as you can see, that already kind of looks like a longleaf. This is a technique that we're going to use in as we ends. We talk about leaves and one of the upcoming videos, but just as a warm up, this is kind of what I want you to do. So I want you to do in straight lines in going from thin to thick to thin again. And if you find that as you do it, you run out of paint, then that means you need to add a little bit more water because if you're out of paint, that's OK, but you probably will have to go back in and feel it in after, if you want it to be completely filled in. But I will say as we go along and reform these flowers, sometimes it's OK to have some of thes, um, white spaces. White space is actually really important for loose watercolor florals, which we're going to talk about in future videos. So do it. So what straight, Kind of like your practicing a longleaf. And then also, I want you to practice moving your paintbrush around in a circle like this. Okay. Doesn't have to be a perfect circle, but I want you to practice moving in like, a round shape and one stroke. So the way that I'm doing that and we're gonna practice this even more when we practice pedals, because I'm gonna show you how to former pedal this way. Um, the reason I'm doing that is because if to make a petal look natural to make a flower look natural, we want to try to do it in one stroke as much as possible. But then we can go in and add whatever we need after. So that's another drill that is good to practice for. Loose watercolor florals is to practice, uh, moving your brush in a circle starting at the bottom with sick and then having you started Ugo stumbling over my words My apologies. You start at the bottom and then, Ah, you don't have very much pressure at the bottom. And then it's you move upward, notice how I'm pushing on my paintbrush and kind of flipping it around with more pressure, and then I bring it back down, okay? And we're gonna go over that technique even more when we learn different petal shapes. But these are just some drills that I want you to practice. And you can do all kinds of shapes with ease, pressure, pressure drills. The point is to get comfortable using different amounts of pressure on the same stroke. OK, so you can go on squiggly lines like I'm doing now and go to thin at some point or keep doing straight lines. I just want you to practice going from thick to thin to thick, to thin, all in one stroke, so that when we paint the pedals, it will come a little bit easier for you. Okay. Okay. That about sums it up for loose watercolor florals. Part one for, um, warmups for painting these flowers. So, without further do keep practicing these warmups. If you're painting along with me, if you're not the next, that's OK to the next video. We're going Teoh del right into pedals, brushstrokes to make pedals and we're going to the next three videos are all about pedals, and then there's gonna be one about leaves, and then we're going to move on to actually shaping some flowers, so let's full steam ahead. 4. Techniques: Petals, Part 1: okay, now that you have warmed up and are ready for the next challenge, let's talk about the first brushstroke the I used to create pedals. So first, I'm just going to quickly explain. The reason I'm breaking these down by strokes and by pedals is because flowers I know this might seem self explanatory or really obvious, but it wasn't for me. I had to break this down into really bite sized chunks in order to make sense of loose watercolor florals. And so that's what I'm doing for you. So all flowers, every intricate flower is made up of smaller little pedals, right? And especially when you paint flowers, they come in all different shapes and sizes. And so, in order to make them look really natural, even though we're doing loose, loose meaning abstract, like a loose representation of a flower not like the most, um, realistic in terms of shading and what not even though we're doing loose were still making shapes basically were using basic shapes, sometimes even blobs shapes that look like blobs and putting them together in strategic ways so that they look like, ah, loose representation of a flower. So the first stroke that I use very often is the teardrop stroke and the teardrop stroke riffs off of the pressure exercises that I had to do in the last video. As you can see, I've gone a little diagram here where I start the stroke off. This is this pedal is made up of two strokes. I lift my paintbrush up two times. So the first I lifted up. And then I start here small and thin, and I wrap around my paintbrush and using a lot of pressure to create the A nice thick wash up here. And then I go thin and again and come to kind of like a point. And then at the end, there's a little bit of white space in here, so I use a very little amount of pressure here again to start kind of in the middle and fill in that space. I'm gonna show you exactly what I mean. Right now, Um, so you can look along, paint along with me or just watch either is good for me. So I am starting very small, very little pressure right here, OK? And I'm moving my paint brush up and around using a lot of pressure to make kind of like an upside down teardrop or raindrop and then ending in the middle like that. But you see how they're still this white space. I don't want to fill it up all the way, make it look exactly like a teardrop because that's not how flowers actually look. Think they look like they're kind of ragged in the centre, physicists going to be the center of the flower, right? So I'm going to start with a small amount of pressure again and just kind of move my paintbrush around, either in that same stroke or in a bigger wash to fill in that space. Now, if the previous stroke that I did dried, which it looks like mine has, then I can I can either leave it and have these paint lines right here. Or I can just go in with my paintbrush and fill in these lines and maybe add a little bit of imperfection along the way. So now I have this pedal using the teardrop stroke. Um, one important thing to note about the teardrop stroke is that it's really going to be tempting when you form your flowers using the stroke to make, like, very perfect teardrops that look like that every time. And while flowers like that look nice, they're not the most realistic because flowers and nature are actually little jagged. Some of the pedals air ripped. Sometimes they're not, Ah, shaped perfectly, just like everything in nature. They have a little bit of wildness to them, a little bit of chaos to them. That's not perfect. And that's beautiful in that imperfection. So I really love watercolor in general and painting nature because imperfection is just par for the course. Um, so I would not stress too much about making a perfect teardrop. In fact, I think it looks even better when it's not perfect. And sometimes if I make something that's a little too perfect that don't go in after and add just a little bit of character to it like that. Okay, so that is the teardrop stroke. Now I want you to practice. I want you to practice it in lots of different, um, not lots of different ways, but just keep practicing one. Um, see, there's, like, kind of 1/2 formed to your drop stroke, which where it it stops. Um further up than where it starts. That's totally okay to That's definitely something that you've seen nature. One thing that you might notice as you're doing this is if you are trying to do the teardrop stroke. I was trying to demonstrate something. It didn't work that time. You're trying to do there to your job stroke. You know I don't have enough paint, and you find that you are getting streaky at the top. That's because you don't have enough paint or you don't really, because your paint doesn't have enough water in it. And so, in order to make it work so you don't get those streaks at the top, you really want to make sure that your paint has ah lot of water in it, so that you can put pressure on it and enough you can put pressure on and still have the paint move around on the paper. That said, sometimes having those streaks, um, some of those streaks just adds some character to it just looks like there might be some tears or holes in the pedal, so it's kind of up to you. If that is something you want to stick with, Um And if you do, I am all for it. So, uh, but that's the teardrop stroke. Go ahead and practice that stroke. And when you're ready, we will move on to the second stroke that we of the three pedal strokes I'm gonna talk about in this course. So get practicing, and I will see you in just a few minutes. 5. Techniques: Petals, Part 2: All right. So you've had some time to practice the teardrop stroke, and now we're going to move on to the second stroke that I use very often when I paint watercolor florals, and I have called it the crescent stroke. It might seem I didn't do a diagram for this one because it's exactly what it sounds like. Basically, you could start from the top or from the bottom. But you start, uh, with very little pressure, and then you move on to and once you get to the middle, you have more pressure. And then once you get to the top, you leave off pressure. Basically, you're forming a little misshapen kind of crescent like that. So loves. I'm going to demonstrate that for you one more time, this time from the top. In case you decide, you want to start from the top, you start with a little bit of pressure, and then you put a lot of pressure. As you move to the middle and then toward the bottom, you have just a little bit of pressure again. So with the crescent stroke, usually you put together a lot of these strokes to form Bunches of pedals and, um, I This is a kind of stroke that I used to create lots of different kinds of pedals for lots of different kinds of flowers. I use it all the time, So this is actually one of my favorite ways to warm up to. I just didn't included specifically and the warm up video because it's I have, I gave it. It's own its own stroke, its own video. So, um, again, you can do that from the bottom, or you can do it from the top, and the key here is to make it not look like we don't want to look like exactly like a moon , right? And even when I try, it's a little uneven, which is perfect because we wanted to have character. We want all of the pedals that we paint, too. Not be perfect to have a little jagged places you can try from the other way to, because I use your I use crescent strokes in multiple different ways. So when you're practicing this, maybe, um, practice having the pedal jet out on both sides. So there's that side and then the other side and maybe from the top, like that or from the bottom like that. I want you to practice all different angles so that you can get a feel for how best to do it. Okay, so now you'll notice that when I'm painting strokes like this when I am trying specifically to put different pressure, different amounts of pressure on my strokes, I want to have a lot of control over my paintbrush. And so I'm not painting it very close, like super close to the bristles to the brush like this. But I am holding it a little bit more. I'm not holding it legs at the very far end of the handle. I am holding it more toward the middle where the where the handle lands. Um, like where the middle of the handle lands on my hand and then depending on how you hold pencils, Um, I usually have the most control when I arrest the handle on my ring finger and used both my pointer and my middle fingers to hold the hold the brush. So that's in case you're wondering about grip. That's how I usually do it. And so that is the crescent stroke, Not not too much to it. But it's important to practice and, um, so that your hand can gain muscle memory. And so when you're painting off when you're putting all these things together, it's You don't even have to think much about it. Okay, so this can also be a fun kind of like abstract warm up for to paint these pedals on top of each other. Um, and it can be, I just think it's fun to paint pedals. So that's the crescent stroke. And, um, so your task is to practice the crescent stroke with whatever paintbrush you have, and then when you're ready, we will move on to the final stroke that we're going to learn in this class. Not definitely not the final stroke that all flowers her made of. But we're just focusing on these three on these three strokes in this beginners loose fullest florals class. So the next one is the final pedal stroke, and then we're going to move on to leaves, and then we're going to get into the rial juicy stuff. All right, see you soon. 6. Techniques: Petals, Part3: Okay, so you've practiced the crescent stroke. You've practiced the teardrop stroke, and now we're going to practice what I like to call the fan stroke, and I'm gonna show you exactly what that looks like right now. So the fans stroke is a stroke that I like to use when I'm creating more like like, thinner, kind of crinkly pedals, I guess. Like that kind of look like they're fanning out like that. What? The flower that most comes to mind for me right now is a poppy. And actually, poppies are flowers that we're going to learn how to paint in this class. One of the three flowers. We're gonna learn how to paint in this class. And, um so we want to use this stroke any time. Ah, flower. Like it looks like it has pedals. But all this but the pedals air kind of folded in on each other. And when you look at them there, um, very I mean, I don't know, fold E. It's the right kind of word, but that they that they fan out, and it's all kind of one thing, as opposed to lots of little pedals put together. OK, so you watched me do it, and I'm gonna talk about what I'm doing. First, I call it the fan stroke because I kind of I start in the middle. I use a lot of pressure, basically, the whole time I start on one side and then I kind of found my paintbrush out, moving the handle a little bit, but mostly keeping it keeping the brush toward the middle because we don't want it to look like I'm just painting like a swatch like that. We wanted to still have some kind of a petal shape. Even if that means adding, um, more shapes to it after and to in order to keep it, have a in order to maintain its pedal shape there has the pedals have to be pointing toward the middle. Right? All pedals, um on all flower stem from the middle in the middle of a flower technically is called ovary of the flower. So all of the pedals are going to be pointed toward the middle in some way, And that's the key difference between like, if I had just painted, you know, a stroke like that with my paintbrush versus this fan stroke, where I have my paintbrush pointed, um, so that the brush the the tip of the brush starts toward the middle with the outward and pointing outward. And then you can either, like, leave your brush on the paper and kind of fan it out like that. It's trickier to get the pain to move exactly the way that you wanted to, even when it's really wet. So I kind of like a combination of both where you're moving the paintbrush a little bit, but mostly leaving it toward the center and then, like this one, it kind of looks like it might need a little bit more shape. I can go in after and make sure there's still some spaces. Um, just add some kind of like loose, imperfectly lines that meet in the middle, so it looks obvious that this is a pedal that's meeting in the middle. Does that make sense? Um, so this is the fan stroke. You can use the fan stroke for flowers like poppies, like I just said, or you can even use it for just like little smaller pedals similar to the teardrop pedal. But maybe that don't have as round of a shape on the outside as the teardrop pedal does. So let me show you what I mean. Like if I had a pedal like that, that's kind of like if my if my pedal was more, um, not quite as rounded on the edge and maybe a little bit more flat or had some more texture like that, that's I could So I could use my fam stroke too, Um, to kind of imitate that, but for up for a kind of pedal like that, you can also just kind of move your brush and, um, create that texture. But we'll talk about that and, uh, leads as we go as we continue on the course. So the fans stroke is mostly to create these, like, broad kind of shapes. And we're going to use all three of the strokes that we use for the pedals. We're going to use all three of them in all of the flour, and at least some of the flowers are going to be painting today. So, as a preview, we're going to be learning how to paint. So I have the fan stroke right here. Then I have the teardrop stroke on the crescent stroke over here, and we're going to learn how to paint a rose, and we're going to learn how to paint a poppy, and we're going to learn how to paint a cherry blossom and all. We're going to use all those strokes who we do it for, especially for the cherry blossom in the poppy. We're not only going to learn how to paint from, like, an outward facing perspective, but also from a side perspective toe add some diversity in our wreath, and then we're gonna put them all together. So, um, practice the fan stroke. I'm going to demonstrate one more time just because I know it's really helpful to see. So I'm starting in the middle with my paintbrush pointing outward, and I'm just kind of moving it. I don't want a perfect fan shape, but then I'm bringing it back towards the middle. Okay, like that kind of like that, and then we'll show you how we put all of those things together in order to create flowers with different perspectives. So practice thes strokes, practice the fan stroke, and in the next video, we're going to go over the strokes that were going to use for leaves, and then we're going to put it all together and learn how to paint these three flowers. All right, I absolutely cannot wait to continue doing this with you. Painting florals is one of my favorite things, so let's move on ahead. 7. Techniques: Leaves: all right before we move forward and forming the three different flowers that were going to pain today, let's spend just a couple minutes talking about leaves lead. The strokes that we need to create leaves are very similar to the strokes that we used to create Floral. So I'm gonna pick up some green. I'm gonna show you. Basically, we're putting together to crescent strokes in order to make a basic leaf. Now I am going to say there are lots of different leaves that you can paint and using lots of different kinds of pressure. But the for this basic leaf that are that you'll find in just about any bouquet or any wreath, Um, this. These are the steps you need to do it. So first, I'm gonna paint a little stem using very little pressure. Okay? And then I'm going to create paint a crescent stroke on one side and remember, a crescent stroke starts very thin, and then it goes very sick toward the middle, and then it gets very thin again. Now the thin when it comes to painting leaves, maintaining the points, especially the top of the leaf, is very important and maintaining the white space between the stem and the two crescent strokes is also very important so that we can keep the shape of, um and leave a space for where the vein where the stem is supposed to be. So OK, so first I've I painted the stem and then I painted one side of the leaf and now I'm going to do another crescent stroke on the other side. But I'm going to start and use the tip of my paintbrush to get a very light kind of point. I'm gonna leave that space white, and then I'm going to do my stroke again on the other side. So this one didn't have quite as much shape to it on the other side. But that's OK, because it just means this leaf is pointing a little bit that way. So, like I have mentioned with everything else So we've painted, we don't necessarily want to have the leaf that's perfectly even on both sides. But, um, that can look cool sometimes, but from the most part, we want leaves that have a little bit of imperfection, right? So those were the basic steps when I just painted that one I painted both sides before I painted this stem, and that's okay. But the the most important thing And I say this and you should know leaves have been like my nemesis. What I learned out of paint. Well, loose watercolor florals, mostly because I would either try to paint them on Li like this. When do you remember the warmup stroke that we used where you start thin and then you go thick and then you go thin again? I would try to paint all of my leaves only like that, and they ended up looking kind of flat. Or I would paint my leaves just like that and leave huge amounts of space in between and or here. I'm just showing you all the ways that I felt like I was unhappy with my leaves or I was start at the top and then go to the bottom. And that didn't always work out for me the way that I wanted to either. Usually it's because it would leave. I would be leaving too much space, or I would leave like a stem like this in the middle, and those look cool. I know a lot of artists who form leaves like this. And so you know you do you? But these aren't the kind of leaves that I was really going for. Ah, notice how this one is pretty symmetrical. I found that I didn't want my leaves to look flattened, symmetrical like that. I really wanted them to have a kind of shape. And so when you paint the leaves and you paint the crescent strokes, you just kind of want to make sure that you are giving your leaves your strokes a little bit of movement when you're painting them, so that when you're done, it looks like they're kind of bending in the wind, or it looks like they're in perfect, which is how leaves normally look. And when we put our leaves altogether on the wreath that we're going to create where I'm going to talk more about shape and how to maintain movement in the same direction so that it looks kind of realistic. But it also just looks really beautiful and wild with how the leaves are falling into each other. So I'm gonna paint a few more while I'm talking. Painting leaves is a great warm up. If you're ever looking just in general, Even if you're not painting floral, Sometimes I like to get out my paintbrush and just paid a whole bunch of leaves. Notice how I always start when I paint these leaves from the stem and go up for me, that's just the best way that I know how to get to get the right point at the top that I want and to get the right shape that I know that I want And sometimes and I'll show you when we paint our wreath. Sometimes that means moving the paper around so that I can start at the stem instead of having to start at the tip of the leaf. Um, you'll also notice for a lot of these leaves, I'm painting like a bigger crescent stroke on one side, and then the smaller one is just kind of filling in at the bottom. You're not. Not all of your leaves have to be like that. You can make fuller ones and still have um, um, look natural. See if I can show you. I'm using my size six brush right now. So that's why I'm not getting as much paint. But this is probably the brush I would use when we paint leaves for, um, the wreath so I can have leaves that have our are a little more full on both sides. That is totally fine. And it works out. But sometimes I have to get do a little more strokes order to get what I want. And then other times when I do, it kind of has this awkward shapes, jagged it and and that might look real in office. I like to have the point b a little smaller unless and more subtle. Um, okay, so those are leaves those air, the basic leaves. Ah, One note. I am going to say sometimes it's OK if you want your leaves to not have so much a point at the end or not just like one point. If you want your leaves toe, be a little more jagged like that. Um, sometimes leaves are jagged of ends like that, too. And sometimes they're dragging all the way around like mint leaves have little jagged edges . There are thousands of different types of leaves, as I'm sure you know, um, and in future classes, I intend Teoh do ah, studies on all different kinds of leaves. But for this basic intro to lose florals class This, um, pretty basic structure belief is what I'm going to be focusing on. So those are leaves. That's how you paint them. And, ah, once again, just super quick recap. I painted the stem and then I did to crescent strokes on either side of the stem. Making sure to leave this thin line of white space just toe, um, maintain the illusion that there is a little bit of a vein there. Um, and I would practice this. I love practice now. I'd I love now I didn't. I used to hate practicing leaves because they didn't come naturally to me at all. But the morning practice, the more naturally they came And knowing this kind of style really helped me where I always start from the stem and go upward to a point. So practice your leaves, practice your pedal strokes, and then when we come back, we're going to learn how to paint arose. Hope you're excited because I am. See you soon 8. Tutorial: Rose : welcome to our first floral tutorial in this. In this tutorial, we're going to practice how to paint loose watercolor roses. Now you have practiced all of the brushstrokes that we that I talked about the beginning of the course, which are the crescent stroke leaves teardrop stroke in the fan strokes. So you should have practiced all of these and for the rose were begun. We're going to use on Lee the crescent stroke, mostly in order to form our loose watercolor rose. Now, remember that the basic concept behind loose watercolor florals is that instead of using shading, um, or, like fine detail work to create the shape of our flower, we're going to creatively navigate white space and that usar brushstrokes toe leave white space in the place where normally in, like a more detailed, fine art kind of painting, you would see pedals and overlapping pedals. So without further ado, the basic structure of arose using the crescent stroke, we're gonna do a rose that's like blooming outward, like we have a bird's eye view of it. Is using the crescent stroke in multiple different sizes, starting very small and getting bigger. OK, so I'm going to show you exactly how that works. Keep in mind, there are so many different ways to paint a loose watercolor. Rose. This is just the main way that I paint them. So, Ah, if you see other people painting them different ways Awesome, you should totally try. But this is my This is my technique. My version. Okay, so first we're gonna paint in the middle, just a tiny little crescent, and I'm just gonna put, um, a little line toe. Have the very center of that crescent have a little bit of white space. Okay, so that's my first layer, if you will. And now, using my paintbrush, I am going to continue using the crescent stroke toe add layers to my rose. Okay, So I'm just moving around the flower knowing that this is the center and I'm leaving some white space because I want there to be some overlap. Um, we can either have the rose kind of be facing this way or and if we want to face this way, then I would keep all to show to this way. If you want to face slightly this way, then I want this to maintain to be open, and I'm just going to keep painting around the edges like that. Okay, so that is like, that's a rose that's facing this way where we get kind of a side perspective. And now if we want to paint arose head on, instead of having the pedals be facing a certain direction, we would have them. Um, we would have more petals surrounding the middle area. So all do all paint one of those now. So, yeah, I'm painting a little crescent and then using the crescent stroke, I'm going to paint around the centre and I'm going to leave some white space. Um, I'm going to leave some white space in between thes strokes here, and I'm just kind of eyeballing it where I want the strokes to go, making sure toe leave some space. So it's not all red and knowing that some of my, um, some of my strokes are going to overlap and dry on top of each other. So I'm just kind of eyeballing this, using the crescent stroke all the way around the middle here in order to form the pedals around the rose. And I always get asked this question when do I stop? The answer is whenever you feel like you should stop and I feel like that's a good stopping point. So let's look at these two flowers and assess. First, I have noticed that some of my pedals have dried and I might have be left with while some of them are wet. And I might be left with some awkward dry spots that I don't really want that don't look supernatural. So I'm going to go over them with my paintbrush again just to eliminate those dry spots. Okay, and now I'm going to kind of evaluate thes two roses. Okay, so some key points on these roses are first, I always make sure that some of the pedals have this point at the end that I can always see this point of end. So it looks like I'm looking at the top ridge of a pedal or, um like like I can see an edge of the pedal. Basically, if I have this pointed out, especially when you see roses that air like, unfolded like that, there are usually some. You can see the ridges of some and so leaving at least a couple that have a point at the end like that, as opposed to these ones. Mostly, the point of my crescent, blended in with other pedals, is pretty key. Another really key thing is leaving some white space in between some of the pedals. I think one of the biggest issues that I see with florals loose florals in general is people starting to paint thes and going like this and then ending up with something that looks more like this. That's just like a big blob, right? And that's totally cool. This is exactly how high water color roses came out when I first started painting them. And honestly, if you painted something like that and painted some leaves around it, you know I'll show you. If you left something like that and still painted some leaves around it, people would be able to tell that it's a flower. So I, um, I want you to take off a lot of the pressure that you've been telling yourself because one of the biggest complaints or struggles that I hear from people when they paint roses well, I just can't figure out how to make them not look like blobs. And so I'm here to tell you mostly they're going to look like blobs. That's okay, but the way to make it look a little bit less like a blob and a little bit more like you were being more, um, intentional about the white space that you're using is to make sure to leave little bits of white space around the pedals of these crescent strokes so that you can still see the formation of some of the pedals. That's really when it comes to loose florals in general, regardless of what flower you paint. Where you leave white space in between the pedals is probably the most important thing that will differentiate between flowers and that will help your flowers feel a little bit less like big blobs and a little bit more like flowers. So some takeaways from how to paint a rose, Um, before we move on, it's a whole bunch of crescent strokes put together right, just going around in a circle. And if you want the shape of the flower to maintain, it's a structure. If you want to maintain the structure of the flower without coming up with some kind of blob, then you that means you need to leave more white space. I need to leave thin layers of white space so that you can see the general structure of the pedals. Right. Okay, but another take away is that if it looks like a blob, that's okay. Have you add cause loose watercolor florals are supposed to be abstract, and people are really gonna understand what you're trying to dio as long as you have the basic structure of of the shape that you're going for and all people need to know when they look at watercolor florals is that they're bright and colorful and have some kind of nature like irregular shape. And then once you add leaves, they're definitely going to be able to tell exactly what it is. Okay, last thing before I move on, really quick is when you are painting roses. A technique that I like to do sometimes is not to use pigment for all of my strokes. So maybe all I'll have some pretty dense pigment for those first couple strokes. Okay, But then, while it's still wet, I'm gonna wash off my brush and just use water to blend in the color together. Um, you have to do it while a pigment still wet and some of mine's not working as well as I wanted it to. That's okay. Um, the basic idea is that, uh, if you paint and use water while the pigment is still wet, then you can create a natural Grady int in the flower that can look really beautiful and really cool. So keep that in mind because it's going to come in very helpful when we practice our last flower, the cherry blossom of this class. But I wanted to show you what it looked like with the Rose also. And as you can see, this Rose is a little bit more abstract than any of thes two, right? It's a little bit more blobby like this one, but I still think it's very I'm I'm Still, I still think it's beautiful, and I really love how it turned out. So let yourself off the hook with If you just are so annoyed at painting blobs and if you really don't want them to look like this anymore, then take some time to intentionally practice leaving in the white space. And the more you practice it, the more your hands will remember to leave in that space. So that is the tutorial on Rose's practice all you want and let's move on to the next video , which is about poppies so excited can't wait to see there. 9. Tutorial: Poppy: All right. So we have practiced our strokes and our leaves. We learned how to paint roses, and now we're going to learn how to paint poppies from two different perspectives. Okay, so, um, the very first thing you need to know about painting poppies is the main stroke we're going to use is the fan stroke for poppies. So we're going to use the fan stroke, and then we're going to use kind of a hybrid of the crescent stroke and and the fans stroke , um, to create our poppy effects. So first, I'm going to show you what a Poppy would look like from the side is as if you are looking at it as if it were standing. Um, like, honest m. And you are looking at it from its side, as opposed to straight on. So I'm taking my number 10 brush. You can use number six. I'm using number 10 and I'm going to paint a fam stroke. Okay, so I'm starting from the middle, and I'm kind of building an uneven. I want an uneven edge right here. And I wanted to come back toward the middle like this, but I'm still gonna leave some white space, like right here. Okay, so I did that fan stroke. That's how I built that poppy. And now So this is like that, Almost like the inside of the flower. Like we're looking at a poppy as it's popping out of the field. And this is the inside of the flower. The overuse right here. This is the inside of the pedal. Okay, so now we're going to form what's going to, uh, the outside edge of the opposite pedal using kind of a hybrid and, ah, hybrid crescent and fan stroke. So what I'm gonna do is underneath here. I'm gonna star underneath this pedal right here, and I'm going to just kind of close this gap in between. And I don't want this to stay exactly like an edge. I want to come to a little a little bit of a point. So I'm just gonna manually paint in right here, because this is where the the stem is gonna be. Okay, but my point. But the main important, the most important thing is that I am basically putting an edge to cover up part of the middle white space here. But I'm leaving some white space because this is where the center of the poppy is going to be. And because the poppy we're looking at it from a side point of view instead of you know how poppies have, like little black, um, tendrils popping out. Um, technically, those are called the stamen of the flower. So the center of the flowers, the over eat a little like wispy tendrils popping out or called the statement. Since we're looking at it from the side, we're not going to see a big center and the tendrils going out in a fan or like in a circle around we're going to see them popping out from behind this flower. So I'm gonna wait for that to dry a little bit before we paint before repainting those details. But just know that the last the final step to painting the side perspective Poppy is to draw in the black stay. Men popping out from the center. Okay, so this is the side view off. Ah, Poppy. And this is the side view of lots of different flowers to poppies aren't the only ones that have, um, you know, those kind of really thin, um, flaky enough Leakey's. I keep trying to come up with adjectives. I describe these pedals, but it's tricky. Um, like thin and folded petals that go in a circle around each other. Poppies aren't the only ones, and Yemenis are another one that come up come to mind for me. But in my mind, they're the easiest to demonstrate. So, um, for this beginner's class So that's the side view of the poppy Now the center view of the poppy. We're like the bird's eye view, I guess, is kind of like a combination of the fan stroke and the teardrop stroke in that we're going to leave. We're going to paint multiple versions of the fan stroke, just basically around in a circle, and I'll show you what I mean by that. So I'm going to start with the Tana pedal. I'm painting a fan stroke. OK, I want to go out a little bit more like this, and then I'm going back to the center, similar to how we do in the teardrop stroke, and I'm filling in parts of the center because because this is, ah, view of the flower from head on, we're going to paint in the center after. So now I am going to turn my paper and paint another fan stroke and do the same thing. Just kind of used my paintbrush to fill in some lines and I'm gonna turn my paper and do another fan stroke are making all these uneven. I don't want them to be the same, but I'm using my paintbrush after to fill in the lines and this one, I'm gonna bring out a little bit more And then my last one like this, using my paintbrush to fill in the lines. Okay, so the key here is we want the pedals to be very wavy. We don't want them to be in a perfect circle. We want them to have texture. And so it's OK that, like it looks like some of this. The pedal behind this dried before I had a chance to paint the one on top of it, and it's kind of just staying there, but I'm I'm digging that layered look, so I'm going to keep it there, and we want the watercolor to have texture, so it looks like the pedals moving, and then we're going to paint. In the statement in black in just a second. So these were the two views of the poppies. Um, if you don't want toe, turn your paper around, then instead of doing a fan stroke all the way around, you can dio a combination of the fan stroke and a teardrop stroke. So let me show you what I mean. So first, I'm going to start off with this fan stroke that I did and bringing this toward the center . Okay. Now, instead of turning the paper, I'm going to start in the middle and kind of dio a teardrop stroke, but make it way less teardrop shaped. They get more fan shaped and just kind of fill in the spaces where I see they need to be filled. Okay, so I'm starting in the centre. I didn't have quite enough paint. That's okay. I'm starting in the centre and filling in the spaces as I go along, and but I'm moving my brush in the same way that I would a teardrop stroke. Just with more movement, more texture, Um, so it's a lot more shaped like the fan stroke, unless shaped a lot less like the teardrop stroke. But it's the same basic movement of my paintbrush. Okay, so maybe feeling just a little bit of that, um, So I can achieve this open faced Poppy with both of those methods either using the fan stroke all the way around or using a modified version of the teardrop stroke and not moving my paper at all. So now that we have painted these an open faced poppy and a sideways poppy. Now bear in mind this sideways, poppy, you can have it be facing up, or you can have it be facing this to the side. Um, and I'm gonna show you just really quickly how it would look to the side. So you can either for this, if it's easier, turn your paper and pretend to be painting it like it's facing up. Or you can keep it for an extra challenge and see if you can mimic this fan stroke, uh, at a different angle like that. Okay, so that's the bigger pedal from the inside. And then the smaller pedal is just going to come and meet it like that. And when you paint poppies from the side like this, you can Honestly, you can either have the inside petal be the big one on the outside would be the small one. See how that this inside pedal that's going to be the inside where this is the center, right? You can have that. The the ratio should be about 1/3 to 2/3 so you can have this be the bigger one, and this be the smaller one. Or alternatively, you can have the, um the inside petal be the smaller one and the bottom petal be the bigger one. Either way, it's gonna be a poppy. So, um, with poppies, especially, they look, I think of all of the flowers that I paint. They look the most like blobs when I to him the way that I do them. So if you needed another pep talk is to how it's OK if you're If you just feel like you're painting blobs when you're painting florals. Here you go. The thing that makes them look less like blobs and more like florals when it comes to poppies like this is when you add in the details. So now I'm gonna show you how to do that with my black paint over here. So I'm picking up my detailer brush. That's my size zero brush. And it looks like this puppy is mostly dry. Just a little area over here, and that's okay. So I'm first going to paint a lot of dots. One of the number one thing to remember about painting these details on the side poppies is that these dots do not go below this ridge. Okay, because this pedal is the pedal. That's like you're looking at the outside of it. It's shielding you from the ovary of the flower. So we try us as much as possible not to get the dots outside or arm to this, um, onto that pedal right there. Okay, so that's the ovary of the flower. And now we're gonna paint some of the steam in on the way that I like to do. That is by painting some dots on top around it and then painting the the little stems. Very thin, very wispy. And there you go. That is a poppy. That's how you paint in the details of the poppy. Now, if you wanted to add in more details toe like show shading on the actual pedals, one thing you could also do with the ah zero brushes, pick up the same pigment, the same red pigment, but in on your zero brush. And just add in some like veins. Some lines. You don't want to make them super like parallel or the same. And they should all be going toward the ovary toward the center of the flower as you paint these veins on here. Okay, so just like this, um, with loose florals, it's not super necessary because people are going to know what you're trying to paint. It's just gonna add in a little bit of detail if you really want. And then I would do it again on top, making sure that they all are pointing toward the center. It just sometimes you can see like little veins on properties and some flowers, and so adding them just adds a little bit more in detail, then not and it's not too tricky, but again, not necessary with these loose watercolor florals. When you paint something like this, people are going to know what it looks like mostly because of the center that you about it . So okay, so that is ah, how you add in the details for the side view of the poppy, and you would do the exact same thing on these ones with the statement going up this way or the statement pointing out this way. And now I'm gonna show you how to paint the details for this open face to copy. So I'm going to paint instead of painting lots of, like, little dots I'm gonna paint, just like I don't know. I don't want a perfect circle. I'm gonna do a little kind of like a blobby, misshapen circle for the center, but I do want it to be like a circle of black, okay? And then I'm still leaving some of that white space in there. And now I'm going to go around and I'm gonna just dot really quickly in a circle around the center, the ovary and black that I just painted. And I don't have any particular rhyme or reason. I'm just going in basically a circle. I looked through the docks first, and then I'm going to add in the lines, and they're all going to be painting to be facing pointing toward the center. So, as you can see, I'm not really worried about matching line per line and dot for dot I just kind of painted a lot of dots, and now I'm painting a lot of lines. And that's how I like to make loose florals feel loose and feel more the most abstract. Okay, on that is how you do it. That is how you paint the center of a poppy. And if you want, you can do the same thing. If you want to add in just that, like that extra little bit of detail, you could do the same thing that we did up here, where you add in just some extra lines. Teoh be like some veins of the flower. And to add in some detail but not necessary again, you can even try to, like, make thes veins of the flower. Uh, differentiate between the pedals between the pedals. Um, and I can be pretty fun looking, and it can be It's not too hard of detail ing to add in. I'm not worried about really about where the pedals were going. I'm mostly worried that they're not straight. I don't want them to be straight. I want them to be a little curvy, and, um, I don't really have a particular rhyme or reason to them. But that's optional, totally optional and up to you. So that is the poppy. Your task now is to practice both of these perspectives into practice, adding in the black. Remember, you can't add in the black until after the flower has dried. If you do, I'll show you what it looks like if you add it while it's still wet. It's just gonna be like the wet on wet technique. It's gonna blend in all over, and you're not gonna get that sharp, detailed look so going away for them to dry first and then add in the detail. Um, but that is how you paint a lose poppy, and now we're going to learn how to paint a loose watercolor cherry blossoms so stay tuned and get excited. 10. Tutorial: Cherry Blossom: last but not least, we're going to practice the teardrop stroke, noticing the other strokes on the other flowers. We use the fan stroke and the crescent stroke. And now we're going to you practice our teardrop stroke to paint cherry blossoms. Um, the teardrop stroke is mostly going to be for open face to cherry blossoms, and then we're also going to be using modified versions of the fan stroke to paint side versions. So for cherry blossoms Ah, the method of the idea again, This is just one way to paint cherry blossoms. Remember back to when we painted the Rose and I talked about how it was for this flower. I only put paint when I did like these initial strokes and the knighted water right on the water diluted the paint to make it lighter at the end, changing its color value. We're gonna use the same technique to paint cherry blossoms. So stuff one is I'm going Teoh. I'm using my six brush here because also remember that cherry blossoms are usually smaller of a flower than poppies or roses. They're probably less than half the size, I would say maybe 1/3 of the size, so I would typically would use a six brush. Unless you want to make a cherry blossom, that's not that's larger than it's supposed to be about. That's up to you. So I'm picking up a lot of pigment. I didn't he'll see in my well, I have some spots where there's a lot of water, right? And then other spots where it's just pigment. And right now I just want to pick up a lot of pigment, some very dense pigment so I can get very rich, dark color value of this Windsor Red. Okay, so first I'm taking that pigment and I'm painting a bunch of dots just in the middle like this. Okay, so now I'm washing off all the pigment from my brush. So I washed off and using just water this wall, a pigment is still wet. You have to make sure the pigment is still wet, but I I definitely brushing the water. But I also got off some of the water in my paper towel. I don't want times of water on my paintbrush, but I also don't want I I want, like some some nice in between amount of water, while the pigment is still wet. I'm starting in the middle and I'm doing my teardrops stroke so that the paint now I brought I washed off my brush and I'm going to go back and add in more water to finish off that stroke. I use just water for Teoh form that stroke so they've still wet paint over here Can make this really cool kind of Grady int on the pedal. Cherry blossoms are very delicate and their coloring, especially, can be very delicate where sometimes they're more, sometimes they're more pink and sometimes they're more white and sometimes they're somewhere in the middle. They put in a little, do it too much pigment there. So I'm just gonna mop it up a little witch with a Q tip And cherry blossoms are a little bit trick. This is probably the trickiest flower we're gonna paint today. Uh, the roses and the poppies are a little easier, I think. But basically, cherry blossoms have five petals. So we're gonna do that all the way around, and we want to remember as much as possible not to make it perfectly even right, because say it with me. Nature is wild. nature is crazy. Not everything in nature looks exactly even. So we're going to keep that in mind. And some of the pedals can be smaller than others. And so basically, I'm forming this teardrop stroke first, and then I'm going back in and filling in the center. And I'm doing this on Lee with water because I want the stuff in the middle to fill out the pedals. Now, some of this water has puddled a little bit. I don't want that. We don't like puddles over here, so I'm just gonna mop up a little bit of this water, so to contain, uh, more of the paint. Okay. But I still want this to be a little bit wet, and I'm gonna show you why in just a second. So I mopping up some of this water, it's still a little bit wet, and that's what I want. And now I'm gonna take my brush and pick up again some very heavy pigment, not tons of water, because that already we already have tons of water on here. But some very heavy pigment under is gonna adopt the center of this flower like this because we want the very center of the cherry blossom to be very dark, read very dark red and then the out outer edges of the cherry blossom. That's what we want to gradually be a little bit pinker. So because the pedals should still be wet, the more pain we've added toward the center. It should kind of gradually create a kind of Grady, and we mopped up some of the some of the water, so it's not moving quite as much as I expected, but here we go. Now it's moving. Um, I'm gonna paint another one that hopefully doesn't take his much manual. Going back and forth is this one. But essentially we want to create ingredient, which is going from one color to the next pretty seamlessly from very dark red to very, very light pink. And you'll notice that I didn't use any pink at all. I'm just using this Windsor Red and then adding water to make it a very light wash. Ah, to make the value very lights on outside. Okay, so we need to wait for that to try because after it's dry is when we're going to add in all of the details for to this cherry blossom. So while we're waiting for that to dry, I'm gonna show you this side perspective of the cherry blossom now. So for the side perspective, it starts off pretty similarly. We're gonna pick up some heavy pigment here, and, uh, we're not going to make a big of a circle is we did last time just a few little dots right there of that heavy, heavy pigment. And now I'm going to with just water. I washed off my brush and I just have water I'm going to. Instead of starting in the middle, I'm going to start my fan stroke a very small kind of fam stroke and then bring it down in the middle like this. The reason I'm not starting in the middle is because if I started where the pigment was, if I started where the pigment was, it would probably all turned red. So an alternate way to do this is to start with a very light color value of red. And the way that you do that, I'll show you on my mixing problem over here is by picking up some of this red and putting it over here and then adding tons of water to it. So we want the color value to be so light pink that it's almost see through and social you what it looks like if I did it that way. Ah, so here's my fan stroke, and it works that way too. And I definitely wanted to come towards the middle like that, okay? And so if you did it that way where you started off with this very light value, then after is when you would pick up some of this red and just kind of don't it. So it blends pretty seamlessly right here like that and notice how this paint isn't really blending in. Um, it's just kind of sitting there. That's because I don't have it's because I have too much water. And so instead of lending on to the paper, the paint is just sitting on top of the water. And so I'm going to mop up the excess and then with my detail brush just kind of move the existing water around because I know they're still a bunch on here and blended in right here. Okay, so cherry blossoms again take a little bit more in detail work than the other flowers that we did. So this is probably gonna be one of the most challenging ones that we do. And not all of your cherry blossoms have to look perfect again. So after we have, um, that's just the top part of the flower. The bottom part. We're going to full form it very similarly to how we formed, um, the poppies. And that's just with a crescent stroke. We're going to come and we're gonna meet the's sides right here. Okay, Now, the biggest differences. It's okay if some of this pigment spills on over here. But we want this pedal mostly to be, Ah, pretty light color eso You can add some more pink color around the edges, but we for the most part, we want this pedal to stay pretty light. So we don't We want most of the pigment of the Grady in pigment to go on this inside pedal as opposed to this outside pedal of the cherry blossom. Okay, so that's how you finish up the basic structure of a sideways cherry blossom. So now I'm just gonna watch some gonna demonstrated to you again as we finish up this one So I'm doing a crescent stroke tojust form the base petal of this cherry blossom. And important to note is that looks like some of this pigment escaped me. So I'm gonna put a little bit more over here on the top pedal, not the bottom one. Important to note that, as opposed to with the poppy, where sometimes poppies look like they have one big pedal. We know that cherry blossoms have multiple pedals, right? But the effect, the illusion when you're looking at it from the side is that it is kind of one big pedal that's just cradled around the center right here. So that's how you do the sides. And now we're gonna add in the details that will really make thes blossoms look like cherry blossoms look even more like trade blossoms than they do now. If you're looking at these blobs and thinking, they just I just can't do it. I'm here to remind you once again, these are loose watercolors are loose watercolor florals. They're not supposed to look perfect. And, um, just because they don't look exactly like the pictures doesn't mean they aren't beautiful. And I personally really love the loose watercolor style effect for florals, especially for cherry blossoms. Okay, so mostly this is dried. The middle is still a little bit wet, and that's okay, but I'm taking my detailer brush. I'm picking up very pigmented red, very pigmented red, mostly Ah, the pigment, not tons of water. And then I'm just gonna put in more little dots in the center. And if it's completely dry, then these docks you should mostly be able to see. My center is still a little bit wet, so it's hard to see. But if you're doing this well, let's try. I should be able to see them. And now, as opposed to the Poppy, let's take a look at the poppy again, as opposed to the poppy, where the statement is like their tons. And it's point there, pointing everywhere kind of all around cherry blossoms. The statement on Cherry Blossom really only has like 2 to 5 stamen tops, and they're kind of pointed every which way. So knowing that instead of painting the tops first like the dots first, I'm going to paint the little tendrils first, and I'm using very little pressure to create like thes wispy tendrils and I don't want them straight. I want them to have a little bit of a curve to them, right? So I would Onley paint, like maybe seven, Max. Um, probably even less than that normally. But some of them could go outside of the pedals like that. And then once you have painted these light, tendril likes Tayman, uh, then you can put the little dots on top, forget with the little Dodger called part of the statement and finish off this cherry blossom with these little dots. And there you go. That's how you paint a cherry blossom. Ah, loose watercolor, cherry blossom. The open faced kind. Now, the closed faced these air still drawing a little bit, but I think I can work with this one. Um are you're going? This is gonna be very similar to the poppy again. The side view of the poppy accept less demon. So I'm going to paint some dots right here. Careful not to get on this outside pedal, and then I'm going to paint just a few little tendrils on my my paper is still wet, so they should normally be center like that. But, um, once I've painted the tendrils. It's going to be the same where I add the dots on top and here you go. That's how you paint the details from the cherry blossom on the side for you. So cherry blossoms. As you can tell from this tutorial, take a little bit more detail work. Ah, little bit more practice with wet on the wet on wet technique and creating color values. And so if you find them to be more frustrating than the rose or the poppy totally understand. And I am expecting that So it's okay if you decide, you, um, need a little bit more practice on these, Or if you paint your rot watercolor wreath, which is our final project that you're not sure if you want to include the cherry blossoms just yet. That's totally okay, but I like to have something that challenges you. So if you found this method to be just a little bit too, um, just a little bit challenging, it's okay to skip the first step of the dots and similar to these ones to start out with a really low color value. And, um, it's also okay if you don't have as much Grady int like if mostly they're just pink and you just are painting a bunch of teardrop teardrops like this. Another thing that's okay if you can't fit in five petals if you're painting and you painted your pedal so big that you could only really do for guess what Nobody is going to care. No peace. Going to look at your flower and say to you and say to you that is clearly not a cherry blossom because you only painted four pedals. No one's gonna notice. It's OK if if things like that, just don't work out exactly the way that you intended your next steps from here. See, even though this one is slightly more pink than this one up here, it's like all the same color. That's okay. While it's still wet, I'm going to, um, still, add in some of this contrast. The contrast is really what matters a whole lot more than making the outer rims super light it's having. It's making sure that the center is darker them the out, then outside edges, and then once that's dry, you'll be able to add in these tendrils, and it will still look like a beautiful cherry blossom. So takeaways from the cherry blossom, Um, kind of working backward most. The most important distinguishing factor of the cherry blossom that will differentiate this blossom from from other flowers or blossoms is that we want the middle to be very, very pigmented red. And, um, as long as the middle is more red than the outside, then we're good. Um, we also need to wait for this to dry in order to paint these tendrils. There are less stay hman on cherry blossoms and their our own poppies say, and we're using for cherry blossoms, depending on which, um, perspective you use, we're using all three of the strokes that we used. So the teardrop stroke, the crescent stroke and the fans stroke in all these different perspectives. So, uh, your task should you choose to accept it, is to practice thes cherry blossoms to see if you, um, feel comfortable enough and want to use them in the wreath. And again, if you don't, that's totally fine. If, as we get to the wreath, you decide you only want to do one flower also totally fine. I am going to be using all of them so If you paint along with me, you'll be painting all of the flowers that we just painted. But it is your project, and I cannot wait to see what you come up with. So practices, cherry blossoms, practice the other flowers to your heart's content. I would definitely practice them a few times before starting on the reef. But then let's move on to the next video and the next a few videos. As we wrap up this class, we're going to be the different layers as we create our loose watercolor wreath so I cannot wait to see you there. See you soon. 11. Final Project: Layer 1: Okay, so we have spent a lot of time practicing our florals and the brush strokes and how to paint cherry blossoms and how to paint poppies and how to paint roses. And now we're going to put it all together along with the practice of our leaves, and we're going to create Ah, loose watercolor wreath. Now, one thing with loose watercolor reads is that the more you practice, the faster you'll get them. So that's important to note. And another thing is, when you can do it more quickly than you'll, then sometimes magical things can happen where your flowers start to blend in together and couldn't un concrete's, um, cool color combos. But if you can't do it very fast for now, that's okay, Um, but basically, I'm going to If you want to paint along with me, I'm going to paint a wreath using my professional watercolor block this time. And, um, we're going to put it all together with this wreath. So to start with, I usually take a bowl of some sort and ah, with a very, very light pencil. Um, I will just trace this bowl now I'm doing very light because I don't want the pencil to show up, and it doesn't even have to really be exactly a circle or even the full circle, because this is just some basic guidelines to keep my florals in the same general shape. So in this video, I'm gonna paint the florals first. And then in the next video, I'm gonna paint. I'm going to finish up by painting in the leaves. So I have done a basic circle for my flowers, and now I'm just going to start painting. So I know that I don't how to paint poppies, and I don't have a pink roses. And I know how to paint cherry blossoms. So based with wreaths, one thing important to note is usually biggest flowers go first. Also important to note, you don't have to go exactly in a circle. You can start with some big flowers all over and then with the smaller flowers, just kind of got them in the middle. So I know that roses and poppies can kind of be all different shapes and sizes. The cherry blossoms are small, so I'm gonna put in my cherry blossoms kind of last and paint my roses and poppies first. So I'm gonna start up here with a little watercolor rose. And I am making sure to leave in some white spaces around here with his rose. And you see, I'm not exactly staying centred on the line that I drew. I'm mostly using as kind of a basic guideline here. Okay, So and with my roses, I kind of go so fast that I don't always pay attention to tons of the details. But as long as I've left some white spaces around for, ah, for some of the pedals that I should be good and I might just add a little bit more red around the center to add a little bit texture there. Ok, Now, while I'm on a rose role, I'm gonna pick another side of the reef and paint another rose this way. I'm gonna have it. Have the center kind of be facing over here, and I am just gonna paint my rose using my crescent strokes sometimes using water, sometimes not. This rose might be a little less open facing in a more side perspective. As we can see over here. Uh, making sure to leave some of the pedals, um Pointed outward Because that is what hopes us. No, that this is a side perspective and that these pedal, we can see the edges of thes pedals. And this rose is not perfect. No roses are. So I'm going to leave that rose the way that is. There's one rose, and now I'm going to paint another rose, and I'm gonna paint this one really light. I'm not going to start with very dark pigment. I'm going to paint this one pretty light and I'm gonna paint over here. Okay, So I took off most of the pigment, and now I'm just painting around, painting around with my crescent strokes, using the tip of my brush to make sure some of these points stay points. Is that the way that we can tell the shape of these pedals on the roads? Right, Right. So sounds a little bit light. And now I'm gonna take more pigment and just got the center so that it blooms outward a little like that. Okay, so those air some roses. Now I'm gonna paint some poppies, and so I'm gonna paint one up here. This one Is this, like, a top view? Like I mean like aside for you. So I'm gonna paint some poppies like a poppy like this and paint the bottom like this. Perfect. Now I'm gonna paint another property, may be facing this way and just paint in this bottom part over here more that we're gonna do the details a little bit later. Now, I'm gonna do an open faced poppy, like right here. I'm kind of doing breaking my own rules and making sure to leave this middle part Jagged e so I can paint in the other parts later. The details later. But the most important is that the pedals around it are loose. And I think I'm gonna paint another open Poppy. Maybe over here. Maybe it's gonna Maybe this open property is gonna overlap. This rose a little bit, and that's OK. It's dried a little, so it probably won't blend that well, but I don't need it to There's gonna have it overlap just a little and painting the center . Okay, so now I'm gonna paint some parts of some cherry blossoms Now that I have some of these poppies. Well, I have to. I like to do it in three. So, um, I might pay by my painting of their populate er As you can see, I don't always have like, a plan. When I paint these reeds, I just kind of go for it. So I have painted these poppies and now I'm gonna paint some cherry blossoms and I I'm going to, um, take I'm changing brushes to my size six brush And because I know that cherry blossoms air smaller and cohen more clumps, I'm gonna put like a clump of cherry blossoms long this kind of long edge right here. And sometimes if you do, like smaller flowers along edges of reason concrete diversity to, um so that's that's a bonus. I'm gonna paint thes one at a time. One thing that's tempting to do with cherry blossoms is to put all the dots down first and then try to paint like five flowers at a time. And that's not usually advisable because the dots will dry before you have a chance to paint. Um, and so the pigment doesn't move when you add in the water. So I'm gonna do these one at a time, and I'm gonna show you how I'm gonna do some of them. This traditional way that I taught you and other ones I'm going to do, um, where I skip the dots on, just try to paint, um, using different color values and again notice how my leaves here are. I mean, my pedals here are vastly different sizes, and this kind of looks like an oddly shaped cherry blossom. But that's OK as long as I have. There's tiny bit more water here than I want. Someone sent a mop up a little and then pick up some dents pigment, and make sure that I have that contrast in the middle there. And now I'm gonna paint a smaller cherry blossom like right here. And that one only has four and another small cherry blossom right here. That one only has four. But no one cares because no one is watching or really paying attention. Ah, for this one, I did kind of I'm gonna do these two tier drug ones, But then, instead of doing an outward facing one, I'm going to use a crescent stroke to kind of make it look like it's aside facing one and then for another one over here, I'm just gonna do one kind of teardrop stroke cause that's gonna be a bud instead of ah, full flower is just gonna be a cherry blossom blood cherry blossom, bud. Um, no, I'm gonna do another flower over here. When I add in the details these we're gonna look really cool. Okay, So next I'm going to go through all these cherry blossoms that I drew the fast way and just add in the red so that they still have that contrast that we were talking about out in the red. Some of the some of these have a little bit more water than I was hoping for, so I'm just gonna mop up the places where again, I can tell because the paint's not moving on the paper. It's just sitting on top of the water. No, what we want, but sometimes inevitable. So you just add in. So it's very red in the center. Okay, so there's one batch of cherry blossoms and then in, um, maybe these two spaces I'm gonna add in some more cherry blossoms. Probably the quick way again. So here's cherry blossom. That is, as four pedals, another cherry blossom that is kind of blending in with the other one And we're going to say that one's like a little bit of a bud sometimes facing for sometime fainting florals really is just painting blobs like here I am. I have some space to fill. I'm just gonna put some blobs down, and it's going to look like a flower because it's next to a whole bunch of other flowers. Okay, so here the cherry blossoms. Now, I'm just gonna put a couple of cherry blossoms elsewhere right there. Maybe a little bud appear and maybe some right here. But I want to make sure to leave some space around here because we're gonna add in the leaves at some point in the next video and the so you want to leave some white space to make room for the leaves? Very important to note. Okay, so there are some of my cherry blossoms. I'm gonna make sure that I have added enough contrast and paint to some of these because not all of them have it. So just add in some paint on this some here, some here. I am not even really caring where this is going. I just know the steps that I need. If you want to be a lot more deliberate with your wreaths. You should definitely do that and go for it. But with my wreaths, nor for them to be loose. I need to be loose. Eso The way that I get loose is by taking off the big responsibility that I feel to make thes things look perfect and just do the basic structure of things that I know, right? Okay, so that is our very first layer we've We've put down all of the basic florals and in the next step, we're gonna add in leaves and details, and that will be done. So finish up your wreath, but putting down the florals where you want to And in the next video, let's paintsil If you're painting along with me, we're going to wrap up this wreath by adding the leaves where they're supposed to go and buy putting in all of the details of the flowers when they're dry. So without further ado, let's full steam ahead 12. Final Project: Layer 2: welcome back. So our Rees is dry, and now we are going to paint in the details and the leaves, and that's how we're going to finish. So first things first. I pulled out my eraser before I started this, and I just erased what was left of the line. The pencil line. I could see if the reef, he says. Now we know the basic shape of the circle. We don't need the pencil anymore. And if you can erase is much of the pencil before you start painting on as possible. That's good, because once you have paint on top of pencil marks, it can. It can be tricky to erase if you have lots of paint on it. So I erased that, and now we're going to first before paint in the details. We're going to paint in the leaves. So for this wreath, I'm going to go pretty simple and mostly just dio basic leaves all the way around 12 things to keep in mind. One. I don't want all the leaves to look exactly the same. I want them to have different movement. I want them to to be in perfect, but I do want them, at least in clumps, to basically be going in the same direction. So before I start painting on here, let me show you what I mean by that. I don't want a leaf that is going in this direction next to a leave that is going in the like. I think that, like that can look OK sometimes. But in general I want leaves that are going in the same direction we want. When you're creating wreaths, you want them to be not opposite directions. You want them to look like there's kind of movement to it, so sometimes you can add in some toe adding diversity once you have the basic structure of the movement of your leaves, and you can add in a few more that are going kind of ski, want this everywhere. But for right now, I want to add in leaves that are mostly going in the same direction. Another thing to remember with leaves that was really hard with me that I struggled with is they do not have to be perfect. They don't have to be placed perfectly. You don't have to know exactly where you sourced them. That was one thing that always bothered me or that, um, hindered me when I started painting leaves was But there's no, like, they're just floating in mid air. That's okay. If you paint leaves next to each other on this wreath, as long as it's there next to these flowers, nobody's going to question why a leaf is where it ISS. So I'm sure we'll keep talking about that as I start painting these. So you just kind of want to start wherever you see, um, wherever you see a need. So I'm gonna start painting over here, and I think I'm gonna have my leaves basically going this way, and then I'm going to once I'm done painting those leaves, Then I'm going Teoh, um, paints the more, uh, like ski want this one. So there some leaves. I'm just like painting them in Bunches at this point. And some of them are pointed. Some of them orange has pointed at the top. That's okay. Um, and I want some of them to go outward, uh, this way. But I also want some of them to go inward toward the center of the truth. Right. So notice how with a lot of these leaves. I'm not like, Oh, here's the stem of where the leaf is. I'm just kind of painting them and they're kind of floating in space, but because they're in this general direction of where my flowers are, it's okay. So I'm also not like being too cautious about, um, about placement just in general or about. I mean, the more you the more you paint leaves, the better you're going to feel, um, about the shape and doing them faster, So that's important to know, too. So once we get to the cherry blossom, some of these leaves we want to be smaller, and I'm gonna move my You don't have to move your paper, but I'm going to move money. Um, I'm just kind of looking to see where their spaces and again you can leave white Space leader, and I'm gonna show you how to fill in Teoh. You can continue adding and greenery without having them be specifically leaves. Um, so we're just adding leaves all the way around starting in one spot and moving on. The bigger the flower you get to the bigger the leaves. So these roses air probably gonna have um, some pretty big leaves surrounding them. And again notice how I'm starting from the stem and painting it, um, outward from the stem. I try not to start at the top beliefs just because I feel like it's easier to get shape on exact movement that you want, right? Not doing it that way. So I'm moving my paper around so that my leaves stay in the general direction that I want them to and all of them paint facing this way. They don't all have to be exactly like that, but we want them to like like they're falling in the same basic direction is the goal. Okay? And I'm using Saft Green for reference. Um, when using red, I like to use sap green because it has a little bit more yellow in it than Hooker's. Green does just for reference. Um, and I do that because of color theory, because red and green are technically complementary colors, and so if you use like a very true green with a very true red, they're going to watch each other out and not be as vibrant as you want them to be. So if you use a very true red, but then use a more yellowish screen with through with the red. Then it's going to help. Thes colors kind of pop out a little bit more, Uh, and I am planning to have a class on color theory coming out this summer. But for now, that's just a little tidbit. So I'm going to keep painting these leaves all the way around, starting from the stem and filling in these white spaces that I know that I have. That's basically what our job is with these leaves is filling in the white spaces, and I wouldn't worry too much about if the leaves overlap or if the leaves overlaps and flowers, that's okay. Or if there's still white spaces after you have the leaves, that's okay, too. We're gonna go in in a few minutes after we have thes basic thes basic leaves around, and, um, and add in a few more really easy greenery tricks that helped the I fill in those white spaces. So don't worry about it. Okay, notice how also my leaves air just like kind of all over the place in terms of shape. I've said this a lot, but they did not have to perfect these air loose. You're going for loose watercolor here. And so perfect is the opposite of what we're shooting for. And the nice thing about practice is that if you find that you actually did paint something that you wish you would have done a little differently, then you can note and analyze why you don't like it. Haven't tried to do differently next time. So I'm looking at some of these leaves, and I think that I think maybe next time I try this and then do the company composition a little differently. And that is exactly what you're supposed to do is an artist. So good job, huh? Ah, lot of these leaves are lots of different shapes, different sizes. And that's also exactly what you're supposed to be doing. Because then it looks riel. Rial reads look kind of wild and crazy. I think so, Um and also, I am not perfect at this. I am self taught, and I just thought that showing you and talking through my process for this would be helpful. Um, knowing that I have taught myself these things too. And knowing that I'm not perfect and I still paint them, even though I'm not always completely satisfied with everything that I dio. So okay. And I'm just gonna paint a few in here to go along with these blossoms. So now we've painted some leaves, like, all the way around. Put some on top. Um, I'm gonna go through and add in a little bit more foliage, Just kind of like a second layer. And sometimes I could be another leaf, like maybe we'll do another one right here. On top of this woman's a little darker. Just add in Adam sommeliers. Um, other times, it can just be like a lion like that. If they're little tendrils poking out, just make them wispy with the top pointed. It's my biggest advice for that. If you're trying to draw like, lines going every which way, Um, I would make them a little angled sometimes and have them be pointed out, kind of like they're just little stems or stalks that are coming out of the wreath. So I'm adding in some lines here, and I was still going in the basic direction that I was before, where it's all pointed this way. Some of these lines I'm turning into just darker leaves. Add in some depth and layering the more layers you have. Um, I think the cooler paintings like this. Look, if you have, like, a few different layers of leaves that are on top of each other, I think it can look really cool. Especially because a lot of reeds actually look like that, right? So Okay, I'm just about done, and this video is getting a little long. And so I think I'm gonna wait for the next video, do one more video where he added the details, and then we'll be done. So that is how you add in leaves on wreaths. You go around and fill in the white spaces and just add in green anywhere you think it's going to add some depth. Oh, cool. So I'm going to wrap this up, and then I will see you on the next video as we finished this wreath by adding in the details of the flowers. Okay, so I will see you soon 13. Final Project: Layer 3: okay, Are layers dry? We have our leaves. We have our layer of leaves here and now. The very last step is to add in the details where we need them to be. So roses don't need any more detail ing. We're good on those, but we need to add black and the poppies and red on the cherry blossoms. So first, I'm going to start with some of these open faced poppies here, and I'm just gonna add in the details around here. In case you forgot open faced poppies. We paint the ovary first the center first, and then we paint the docks for the stamen. And make sure the stamen are all pointing in this general direction toward the center. Okay, so that's the 1st 1 And we have one more open faced Poppy. So I'm gonna paint the center black, and then I'm gonna paint some dots around for the steam in. I'm using my zero detailer brush. And I'm not carrying much about matching lines. Exactly two dots, because having it be lose and kind of irregular makes it look cooler, I think. Okay, So those were the open faced poppies now for the side perspectives we're going to add in the ovary here and then add in the steam in up top like that and one more the ovary in the center like this. And the statement. I'm going quickly, but you do not have to go as quickly as I'm going. I am just trying to I often go quickly and often regret it. So if you want to go at a slower pace, you should definitely go for it. Um, OK, it looks like those are all of the poppies. And now we're going to do the same thing for the cherry blossoms this time with the red. So I picked up very highly pigmented red and with the open face under is gonna go clump by clump. So, um, looks like this one has an open faced flower here. And I'm going to add in some of the stamen because I did the dot in the middle and I'm doing the tendrils on top. Note how I'm not putting in the lines. Um, those very subtle lines that I talked about What we're learning how to pick these flowers that you can do if you decide you want to add that kind of detail ing. We're not doing that with mine, so up to you. But it's not something I'm doing. Um, and I'm just kind of loosely painting in these details. The more, um, if you want to make them look very detailed, like very careful, then goes more slowly. But if you, um, are looking for more of like a loose abstract feel like a lot of my floral wreaths are, then you should go for it is what I say and throw caution to the wind. I am not your typical artist. When it comes to watercolor painting, I think that there are a lot of benefits from taking your time. That's true. And sometimes I do take my time when I really want a painting to look just so. But for these loose watercolor florals, if I spend too much time on them, I end up honestly with a with the result that it is not quite what I was hoping for. So knowing that I, I kind of have to let myself go when I paint thes and take all the burden of perfection away and just lean in to the loose look that we're creating here. So not all of these have the same out of statement. And that's exactly what we want. You want diversity. We want them to look different from each other, which is what diversity is. Um, one thing that I would do differently. Looking at this is maybe slow down on the lines. I like really, really thin wispy lines for the statement. So if you find that years were very thick, it might be because you're going too fast and putting too much thickness on there. Uh, just something to note, but we're just about done just a few more and these guys over here. All right, well, that does it for me. Here is my floral wreath. The final project of this beginners watercolor floor class. I hope you had a great time. I hope you love your wreath. And I would love to see all of your final projects. So we're gonna talk about this more in the recap in the final video of this class. But really quick. I would love to see the way that I can see these on the other People can see them. The best is if you post them in the projects gallery. So make sure to post your final project in the project gallery so that I can give you some love and other students can give you some love. Also, if you do, if you do post in the project gallery, it's more likely that other people will see this class. So I would really love it if you did that. And if you decide, you just have to share it with the world. I encourage you to share these on instagram and tag me. My handle is this writing desk and I would love to show you some love that way to the final . And one of the most important ways is to leave her of you. If you loved this class and you just want to tell everybody about it, then I would love it if you left a review. I'm gonna go over all of these again in the recap video. But, um, I just wanted to mention them and to thank you once more for joining me for this class. I am kind of in love with my wreath and I hope that you are too. So I will see when the recap and hopefully again soon. So season 14. Recap: congratulations. Hopefully, if you are watching this recap video, that means you have painted along with me. Throughout this whole course, you've learned all of the strokes that we practiced the teardrop stroke, the fan stroke, the crescent stroke. You've practiced your leaves and you've learned how to paint these three flowers, the rose, the poppy and cherry blossoms and have come up with a wreath that looks a little something like this that you can be really proud of to hang up in your house or give away or design a card with, or any other awesome thing that you can do with a floral design. I if you really, really loved what you came up with and just want to share it, I encourage you to post your final project to the Projects Gallery. That way, myself and all of the other students who take this class can cheer you on and give you some helpful tips and comments. You can also leave your final project with any questions or post any questions in the on the discussion board, and I will be checking those discussion boards, and I'm so happy to answer any of those questions I would love for my all of my classes in this class in particular to be engaged community that you can come back to with any questions about the material specifically in this class that you may have. Um, if you also want to share your piece outside of skill share on instagram, please tag me. My handle is this writing desk and I would love to share some love on instagram for you if you tag me on. If you tag me their eyes a chance that you could be featured in my instagram stories about once every week or two I pull ah, bunch of people's final projects that tag me and I posted in my stories as a future. And, um, I would love for one of those features to be you. So, um, those were some of the ways that you can share and that I would love to see your project last thing. If you love this class or if you feel like other people would really benefit from this class, the best thing that you can do in order to help more people see this class and to support this class is to leave a review, and it only takes a minute. I I know that sometimes other things get in the way. That's totally okay. But if you're looking for ways to support me as a teacher and as an artist specifically on skill share, leaving her view is by far the best thing that you can do. So if that sounds something that you want to dio, please feel free to do that. Um, and if you have any other comments or questions, please feel free to again post them on the discussion board or post them in their in your project gallery. And I am I will be checking and going through all of that. So thank you again for joining me for this class, and I hope to see you next time.