Loose Watercolor Roses | Painting a simple bouquet of roses | SincerelyYen | Skillshare

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Loose Watercolor Roses | Painting a simple bouquet of roses

teacher avatar SincerelyYen, Watercolor Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h)
    • 1. Part 1 - Introduction

    • 2. Part 2 - Materials

    • 3. Part 3 - Brush Stroke Drills

    • 4. Part 4 - Painting a Rose

    • 5. Part 5 - Common Mistakes and How to Fix Them

    • 6. Part 6 - Leaves and Fillers

    • 7. Part 7 - Class Project

    • 8. Part 8 - Final Thoughts

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About This Class

Hello creatives!

Welcome to my class! I am so excited to share with you all my techniques and my process for creating loose watercolor roses. It’s a comprehensive class that is full of tips and key takeaways from me. So, whether you want to learn or you want to improve your roses, this class is perfect for you! 

All you need is a watercolor paper, watercolor paint, a pointed round brush (the size depends on the size of the painting you want to make), a mixing palette, and clean water.

In this class, I am going to share the basic brush strokes that I use, how I mix colors, my process for forming a rose, techniques I use for blending and for adding details, and how I paint simple leaves and fillers. I have also shared the common mistakes that I see from my students and how to fix them.

Hope you learned a lot from this class! Happy creating!



Meet Your Teacher

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Watercolor Artist


Hi! I am Yen, a watercolor artist based in the Philippines.

My art journey started in 2018. Painting was a pastime for me, a way to relax and a way to release stress. (Usually, I paint after my 9 to 6 job as an accountant haha!)

Florals are my usual subjects - wreaths, bouquets, everything that involves leaves and flowers. I am self-taught. I learned from video tutorials on the internet. With constant practice (and after moments of self-doubt, failures and frustrations), I later on developed my skill and discovered my own style of painting.

I share my artworks on Instagram @sincerelyyen. It was where I discovered a deeper purpose for painting - to be God's instrument in touching lives of other people through art.

It is because of my de... See full profile

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1. Part 1 - Introduction: Hi, I am Yan. I'm the artist behind the art. Sincere. Yes. There could only be two reasons why you are here for us is to learn how to paint process. So that means you've never tried painting roses before. Second is to improve your watercolour roses. So that means you already know how to paint through says it's just that you want to take it to the next level. So whether you're a beginner or you're looking for an advanced glass, this is going to be perfect for you. This is no longer a new topic, as I have already discussed this in my floral wreath water color class, also here on skill share. But this time this class is going to be focused only on painting roses. So I'm gonna share more techniques is going to be more detailed and it's going to be more comprehensive. In this class, we are going to have a warm-up exercise where I will teach you the basic brushstrokes. Then I will show you a demo on the basic structure of a rows just to, for you to have an idea how to form the shape of a rose. And then we'll try to be I rose using watercolor. I will also discuss the common mistakes that I experienced and that I see from my students and how to repair our fixed them. Lastly, we are going to learn how to paint the leaves and the fillers. So at the end of the class, we are going to have a class project where I will guide you on how to pay the floral bookie applying now all the techniques that you've learned from the previous lessons. So let's start. 2. Part 2 - Materials: In this class we are going to use the following materials. Water color paper. You can use any brands, but I suggest that it's called pressed and at least 200 GSM watercolor pain. This is White Nights by never pilot. But again, you can use any brands of watercolor. You have a comb. The colors that we are going to use, our Carmen, yellow ochre, zinc white, cobalt blue, green, or red deep lamp black, and the least, use coloring your pilot for it fails. In my case, it's English red. Point that round brushes, you need at least one brush. The size of it depends on the size of the artwork you want to make. In this class, I'm going to use size six, clean water. And I'm mixing. And because we are going to do a lot of mixing in this class. 3. Part 3 - Brush Stroke Drills: Before you start painting, it's important to have a warm-up exercise. So I will be teaching three basic brush strokes are used in painting loose watercolour roses. Further details, I suggest that you use the VSD used color in your panic. In my case, that's English read. So the first stroke is that things in stroke there. So it's very important that the brush is loaded from the depth up to the humans so that it's easier to spread that faint. So again, that's thin and then press and then gradually going back to thin. So the purpose of this is to master how to control the pressure that you apply on the brush. You can also try doing this and just one straight line with thick. So that's press and lift. Again, that and press, leave, press, lift, press. So you can repeat doing this until you are comfortable in controlling the pressure, like you apply on the brush. Now the seconds through is very similar to the first, except that it's slightly curved. And also this is very thick columns, so this is the C stroke. So it's like the thing, the letter C without the hook. So it's Thursday, this thin line and then Chris and curve and back is thin. Again, do this through BBB until you're comfortable in doing this stroke. Can try doing this in different lengths and scientists. Because in thinking lose CFO says, we are going to use small and bigger sized see stokes there. So I often see students doing this type of stroke watch. So this is incorrect. So the correct way of doing this is it should not have the hook. So it's just a curved line without the hook and not forming the letter C. Now the third stroke is quite different. We are going to hold the brush this way, so it's flat. Instead of holding it this way, it's going to be flat on the paper because we are going to use the belly of the brush in spreading the bait. So that's the S stroke. So it's like an inverted s. Okay, so if it can be pointing or facing a different direction. But the only difference or a special thing about this stroke is that we are going to use the belly of the brush and not that dip in spreading the pain there. So we are going to use this and the algebra that those of the rows to soften the edges and give it the favorite look. So again, this is not really on mastering the pressure that you apply on the brush, but on mastering how to spread the paint using the belly of the brush. So it's very easy to glide on the paper. So make sure that it has enough water. Okay, after mastering the brush strokes, you are more than ready to paint loose watercolour roses. 4. Part 4 - Painting a Rose: Firstly, I'm going to demonstrate how to form the shape of the rows using a pen. So you start with the smallest c, Then another sea facing the phrase SEE stroke. And then one above and one below. One on the left. There, I, one above and one below. And then you're gonna do this repeatedly until you are okay with the size of your rules. So notice that the C strokes are becoming thicker and bigger from the center to the outer petals. So that every time you add C soaks, it should be covering, are wrapping the farmers see strokes created. Now when you are okay with the size of the rows, you can add the strokes. So we add the S strokes so that the rows will not look very Steph. We do not want it to be perfectly around as we are going to prepare the colors that we are going to use. So I'm going to use English. You can use any color. I suggest that these the least used color in Europe dialect. And then we're going to prepare three mixtures. So the first mixture is very big mended, that means it has more than water. The second is not too big. Men did not do what AD. So just equal amount of paint and water. And the third mixture is very diluted. So it's very watery. So we're gonna add more water than being. Now to give you a closer look, the first mixture is very dark. Second mixture is just right, and the third mixture is very light. By thinking small c strokes using the phrase mixture. So remember one on the right and one on the left. And this very small m stands see strokes. So it's just the tip of the brush that's touching the paper. Also, we loaded it with the darkest color. Or is it a mixture with the highest donor value? Because we want to give the rows of faded look. Now although your brush with the, with the second mixture makes sure that it's loaded from the tip to the heel and then add slightly thicker sea strokes. Remember you should, you should be forming around sheep. Now if you're okay with the size and the shape of zeros, load your brush with a third mixture and very big and thick. See strokes. Or you can add your S strokes now. So notice that the strokes are the last set of SEE strokes where they painted them. They're touching the views. See Stokes. This is because we want a nice blending of the colors and we do not want to create hard edges. So avoid making big spaces between the sea strokes and strokes. So it's okay if the strokes overlap. So for the last set of strokes, I loaded my brush with just water. And then what I'm doing is I'm just spreading the pain. Now. A closer look, further details. So I loaded my brush with the first mixture and I added a second layer to the rule. So this is very pigment that because we want the details to really be very visible on the rule says, Also notice that it's like we are just tracing the previous strokes that we created. So we are adding a second layer to each stroke. And also as you move from the center to the outer petals, the donor value of the detail should also be decreasing. So similar to the, for instance, the year, it's dark to light from center to the outer patterns. Also notice that I did not wait for their firstly to be super dry. I added, if I added the details or the second layer, while the phrase layer is a little wet. Now, take a look again at euros and if there are Things you want to repair, the shape or the size of the rules. And you can use your strokes to define the shape. Okay, now I'm going to show you how to achieve a nice blending whenever you're using two colors to create a rules. So the first mixture is Carmen, very pigment that Garmin. So just a little water. The second mixture is Chrome in this yellow ochre plus white, thus water. So again, that's half the half water. So what do you want to achieve here is a peachy and look her color. Now for the same mixture. It's yellow ochre. That's very watery. So we're gonna delete this with water. Again, start with the friends mixture. And in your very small c strokes, still using just the tip of the brush. Now you do not have to follow exactly what we did in the drawing. Awhile ago, was making sure that you're forming around sheep. Now we're under the second set of SEE strokes using a second mixture. So you should be creating slightly thicker and longer C6. Now while this Rs then let us strokes using your mixture numbers. Notice that there are no hard edges because we added the strokes while the sea Stokes are still wet. So there's some nice blending from the very pigment that Garmin Beach. He makes sure there is a yellow ochre to vary the youth that yellow ochre mixture. While it's still a little wet, we are going to add the second layer using the phrase mixture. Again, when adding the details, use just the tip of the brush. Adding the c strokes for the outer beta's. Now we are going to add more details to this rose. I guess. But for now we're going to define the shape of the rows while the outer petals are still wet. Now we are going to paint the third rules using the color blue. So I'm just going to demonstrate this, just to show you that for this rows we used blue plus black for the center. So you can also do this technique if you cannot find a darker shade for your chosen color. So I added a little black. So same procedures. Second set of SEE strokes should be slightly thicker and incur. And we are using more water mixture here. Then very watery mixture for the S strokes. Keynote is that we only used one color, but we still achieve that faded effect. So remember that technique, use the chosen color plus a little black for the center. And then very watery mixture for the strokes. Now let's add the details using blue plus black key. So I'm adding the details similar to the second row's, while the first layer is not yet dry. So there. Now I think the second rule is dry. So we are ready to add more details. This procedure is optional. You can choose not to add more details, but if you think that your rows needs more depth, then you can add details like what I'm doing here, but makes sure to wait for the phrase. And secondly is to become J before you do this. Because if not, you're gonna move in the first two layers. Okay, so for the outer petals that details should also be lighter or should have lower tonal value. We do not want to add very strong EDS or colors for the outer feathers because it's not going to look faded anymore. Now we're also going to add details to the third row's using black plus blue. Because you have to make sure that the details should have a higher value than the first layers, so that it will be visible on the rows. You can paint here roses. 5. Part 5 - Common Mistakes and How to Fix Them: Okay, now I'm going to show you is a common mistakes are not really mistakes but points for improvement whenever you're building roses. So this is based on experience and based on what I see from my students. Mistake number one, large spaces in between here, C and S strokes. Okay? It's very hard to repair this type of fruits because if you try to repair, It's either you're organically eight, a huge blob, or the hard edge edges will still be there. So I suggest that you just keep in mind that it's okay if the strokes overlap. Just as long as there is no huge spaces between those strokes. And state number two, hard edges. So this happens most of the time whenever you are using the phrase that is in each case, you should eat thin vapors or those that are not Cothen. So I'm just going to wait for this C strokes to dry before I add the next C. So it's just for you to see how it looks like. And also I'm going to show you how to repair this rose. Ok, there. So you will see hard edges everywhere there. So what I do in order to repair their struggles as I add more water to my brush. And then I softened the edges using my so you can see. So we are just softening the edges using the S strokes. Okay, now, it looks like a huge surface. So what we can do to add depth and shape is to add the details. I'm doing this while for the first days. When say you're gonna see a nice meeting of the colorist then and there. So you'll have improved your use. Mistake number three is the use of too much water when making. Low says. So the tendency here is that your rows will look like a huge block of pain. They're no longer looking like a rose, but Just a circle. So what you do here is we add the details. Kay, so we added details while it's still a little wet. So just the same, they're just the center. And then we're going to wait for this to dry and then add more details just like what we did in the beach and the blue roses in our previous lesson. Key, while waiting for it to dry, I'm gonna show you mistake number four. Loci week. I showed you a while ago that sometimes we use two colors when painting roses. So mistake number four happens when there is incorrect lending or improper blending of colors. So you see that's a very nice pink. And then all of a sudden you are having a very strong yellow ochre are the other methods. So there isn't a blending from peach to yellow ochre. But the yellow obese to strong, making it look like is already a yellow rose and not graphene crews. So what I do to repair this is I add water to my brush. I load it with just water, and using my stroke, I spread the pin and then add very pigmented readings for this. And just to make the loose look like it's been or the original color invented. They're now let's add more details to the same rows there. So what was previously a huge blob is now very beautiful laws because you added the details. It is as a very communist I even experience. So what they do is I add the details. So there we have prepared our realist AS except for mistake number one. 6. Part 6 - Leaves and Fillers: Further these, I have prepared three colors here. Green, reinvest Carmen, and Green Pass yellow ochre. So I normally do this further leaves. I use green, that's any green in your IOT, plus the colors that I've used in my Florida's. Now we are loading our brush and make sure that you have loaded your brush from the tip to the heel as always, and remove excess water. So the basic form of a leaf is made of 2i strokes facing each other. So that's one sees stroke and another C stroke. And then just fill up the space has with pain. Now if you have excess water like this, you just have to push that towards the other end of the leaf, the one that's connected to this, them. And while it's still with, I'm just going to randomly add or drop a different mixture. So just to add extra. This is the wet on wet technique. Okay, let's try that again. That's another leaf. So one sees throw and under they see stroke. And then just fill up this basis. And any excess water, you just push that towards the other end of the leaf. Now that's randomly drop. Different mixtures are callers for this. K per added extra. Okay, now let's try that with us, them. Because when they paid floral bouquets, I usually use this stem as a guide to where I think my leaves. So it starts with a thin line. Just make sure to use the tip of the brush to paint the stem. And then you do see strokes. And then fill up the space is then going to add another leaf here. Just dropping a different mixture for texture. And another one here. I don't usually paint my leaves B2 alleles to each other. On both the left and the right side of this stems are off the stem is it makes it more natural. L also, if you can add variation and just paint the leaves in different sizes and lengths and shapes. Okay, now just to add a little extra for our bookie, I will teach you another leaf. So this one's smaller but longer than there. And loggers, it's made of two thin, thick then strokes there. And if you notice, I added a little curve there just to make it look like it's moving or it's freely moving. Then another one that's in thicks and kind of forming an s And then a thin, thick, thin. And then another one. As I have mentioned, he tried to make the leaves look more natural by painting them in different sizes and lengths are shapes. So I'm going to paint the smaller is here. Okay, now to add another element. So this is just a simple filler. It could be a flower or elif. So just to add to your bookie, but the main focus with STL bureaus S. So just for the awkward spaces, you can add this k. So it starts with a thin line for the stem. And then if you notice, I press and loop. Again, that's press and back. Like painting and a very small oval leaf. They're so in doing this makes sure that your brush has enough water but not too watery. So that it would be easier to glide. The brush on the vapor will be very smooth. So this could be a leaf or a flower, depends on the color that we are going to use. Of course, if you use green, then it's going to be a leaf, is going to be interpreted as a leaf. But if you use any colour you use in your Florida's, let's get to be interpreted as a flower. So I'm going to try that using Carmen slightly mixed with the green. So that's ten and flew back. Okay, now if you're having a hard time doing the loop stroke, you can do this instead. So it starts with a thin line for this stem and thin and another syntax in, so it's like a smaller version of the leaf, of this second leaf that we paint them. But this is more of an oval-shaped leaf instead of a point that one. Ok, now, I think the first layers or dye, so we can add the details. So when adding the details makes sure that you are adding phase with a higher donor value or a mixture with a higher donor values should have less water and more beam. And your brush shouldn't be to water. So that's thin and thick. Thin. So if you know it is there, are there. Ok. So I did not intend to do that. I just used the very light pressure in painting the veins so that the brush is almost not touching the paper when I'm doing the thin stroke. And it kind of creates the effect that the veins are more natural. Looking for this very thin leaves, you can just add thin lines. At the center of the leaf are the veins. And so we're going to use this leaves to add another Florida bookie. 7. Part 7 - Class Project: First step in creating a floral watercolor bookie is to prepare your colors. So the first scholar I'm going to prepare is Merlin. For every color, I'm going to prepare three mixtures. Remember, one should be very big method so morphine than water. The second one is composed of equal amounts of beams and water, and the third one is very diluted, so it has a lot of water and it's very light. Then the second color is a mixture of Grameen and yellow ochre with Chrome when it should be peachy, pinkish color there. And we're also going to prepare three mixtures for this. There are in third column is going to be a mixture of yellow ochre with Carter man. But this time it has to have more yellow ochre than comin there. And then I'm going to prepare a more ideal you that mixture here. Then for the leaves, it's gonna be green. So any green in your ballot, Mrs. bright? Green. Are just green from white. Nice may never eyelid. And I'm going to just add a little Carmen in yellow or green there. Just to tone down the color. And also to make sure that it's going to match the flower is. And then I'm going to prepare a very dark green here. This is shadow green from shallow water color set. And then I forgot to mix green plus Carmen here. But this time I'm adding more requirement of this. Okay, now let's watch the colors just to check if we are okay with our mixtures. So this will be our color scheme for this floral bookie. So it's going to be vibrant and break. Next step is to sketch or just put them with the mark on where you're going to paint their doses. So I'm not really drawing the roses. I am just going to mark, I'm just gonna put circles there. This will be my guide as to where I'm going to paint the rows and also as to the size of the Rose and I'm going to pain because I noticed most of my students encounter problems with the sizes of their roses because they can stop adding the c strokes and strokes. So just as a guide so that it wouldn't be too big or too small. That is going to help. And then I'm going to sketch the stems. So I'm not really drawing the leaves here. I'm just gonna sketch this stems as my guide as to where I'm going to add fillers and leaves later on. So I'm just doing this very lightly because we do not want marks to appear after the beam, then the flowers and leaves. So let's start with the lowest says same procedures as what you've previously learned in earlier lessons. Start with small c strokes. So the center should be paid that using the most pigment, that mixture of the color maroon. So just a little water and more beam. Then you see strokes are becoming thicker as you move from the center to the outer backbones. Now this specific rows, we want this to be vibrant and bright and you want to be super led. So we are not going to use too much water on this one. It's going to be faded. But it's not going to be like the roses that I've showed you in the previous lesson that it's fading as in we're gonna use just water on the outer petals. So for this one we're going to use beam with less water. But for the strokes it's going to be the same sort of sees strokes. He said the good thing about having this sketch or the circle, the guide, is that you will not have trouble in determining whether to continue adding C strokes or strokes or just stop. Because I see that it's a common problem for my students. But because we have a guide, we know that we are near the desired size of the Rose. So if you know that you're already knew that, then you should. Now add your strokes k. So now we are done, but we're going to define the shape of this rose. So remember, as discussed awhile ago, your row says are made of at least two years. So the first layer is the form of the rows, the second is the detail. And when you add the second layer is going to be a wet on wet technique. So while the first layer is still wet, now if you're not yet okay with the details and you want more depth to the rules, then you can add a third layer this time, wet and dry technique. So the second rows is going to be a mixture of carmen and yellow ochre but with more current min. So same procedures. So we just continue adding C serves to create the perfect shape forever rows. Now we're on the second set of sea surface. We are using the second mixture. That is the mixture with equal amount of water in pain. Then we're going to use the third mixture to add strokes. Again, based on our sketch. We have achieved the desired size. So we are already adding the strokes. Now, our third rows is going to be yellow ochre, that's Carmen, but with more yellow. So this is going to be a little different because this rose is going to be facing downward. So what we did is we started painting the center of the rows at the bottom part of the sketch, the circle sketch. And then bulk of the battles are going to be at the top part of this sketch. So as you can see, I'm adding C strokes here. You're going to know it is that it's a different position. So this iss jokes I kinda facing downward also. And then we're just adding more strokes here to make it rounded. Anybody want the bulk of the battles to be at that part of this cerca. Di now we can add more, see strokes here that give you that illusion that the flower is facing down or now our fourth rows is also going to be like that. But it's facing to the left, downward. So I'm just going to move my paper so that I'm not gonna have a hard time adjusting my arm. So you can also do this through feel, move your paper so that you can move easily. So again, this is going to be facing to the left downward. So the center should also be at the left. Bottom part of this sketch, of the circle sketch. And then we're going to add C strokes at the bottom of the sea strokes are kind of facing the left bottom bar it also. So you will notice I'm just adding Morrissey strokes here, there. And then I'm just gonna make this round. So I'm adding more strokes here. But we want to create the illusion that it's facing to the left. So you're adding more strokes here. So bulk of the metals should be at this part here. So as air. Okay, now I'm just going to add more detail. So I mean this second layer of this rules. Again, for the second layer, you do not have to wait for the first layer, the dry. You can add that while it's still wet or a little wet. And then we're also going to add the second layer, I mean, this buried layer for this flower. So this time it's wet and dry. You always have to make sure that you shouldn't be overdoing the details. Then we're gonna add more details on this flower. So this is the third layer. So it's the wet and dry technique. Now we are ready to add these. And after bending you flowers, you can check again. Where else you can add more elements. So I'm using a Bentonville to sketch where to add the stems. Just to have a guide. So focus on wherever there is basis. And that's where you will add the leaves. So I'm not really drawing the leaves, I'm just sketching this stems because the stamps will be the guide us aware I'm gonna be in the leaves later on. Since this is loose Florio's, we do not actually draw the elements. So these are just guide me. Now for the leaves, remember your C strokes facing each other. And then don't forget to drop. At Defense makes our color while the first layer is still wet, just to add more texture. Most of my students struggle with adding leaves because they do not know where to add more leaves. They think that after painting they're gonna ruin the flowers and the leaves are going to look awkward. But I suggest that the first being the stem, are just like what we did awhile ago. We sketched where to paint the stem. So that's going to help you to be brave enough to paint the leaves. Also, you do not want to use a very pigment that makes for your leaves. Because we want the star of this bookie to still be the roses and we do not want to overpower. This rule says. Also just keep in mind that every now and then you should be checking your work from afar. Just to have a look. The check if you are already overdoing the leaves, or you really have to add more. So it's okay if some of the leaves overlap. A small part of the flowers is as long as it's a small bird and the flowers you need. Because we do not want to, we want to make the leaves to look more natural. So it's okay if it will overlap some parts of the flowers, but as much as possible you want it to look like it's at the back of the flowers. Again, the start of the bookie is your rows. I mean are your roses. You will appreciate more the very nice texture and believes as an SN effect of the wet and wet technique just dropping colors. So you will see there when it becomes gray. And there's a nice variation of color within the lines. Creating this more natural look for it, the leaves. I know that I have thought you have to bait a smaller elif awhile ago, but always keep in mind that you should always be infers the beaker because the smaller leaves are easier to squeeze in later on. So the bigger elements. I'm just going to add one more leaf here. And I think it's good. I think very good business. Okay. And now you can stop here. You can add more fillers. Find the upgrades basis. So there. Now if you add is going to look like this. So the smaller leaves and the file's, now you have your Maki of reassess. 8. Part 8 - Final Thoughts: Congratulations for finishing this class. I hope that you're no happier video really says. As a summary, here are the key takeaways from the class. First, remember your basic brushstrokes, the thin thick sensor to see stroke. And your strokes, practice them and master them because they are the very foundation on creating Rose's. Second, remember you're tonal values. Every time you prepare a color, we would prepare three mixtures. One that is very pigment, that, one that is not too watery and that do pigment that, and one that is very watery because P1, the tonal value of the petals to decrease from the center outward. You have at least two layers. For instance, the basic shape of a rose. The second layer is the details using the wet on wet technique. The third layer is optional. So if the details using your web on J technique, I encourage you to upload your class project here on the Project Gallery. I would really love this year works. Or if you're going to post it on Instagram, you can add me. This is my Instagram account and you can use the hash create with yet, I will be featuring your class projects in my Instagram stories. I will be uploading why glasses in the coming months. So please don't forget to follow me here on skill shares so that you will be notified if I have new glasses. See you in the next class.