Meditative Watercolor Patterns | Femvisionary | Skillshare
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8 Lessons (1h 4m) View My Notes
    • 1. Introduction

      2:11
    • 2. Materials

      4:53
    • 3. Pattern 1 - Easy Florals

      14:53
    • 4. Pattern 2 - Leaves Galore

      11:49
    • 5. Project 3 - Button Florals

      10:27
    • 6. Project 4 - Fun Motifs

      9:57
    • 7. Project 5 - Curved Motifs

      8:36
    • 8. Conclusion

      1:26

About This Class

Welcome to my Meditative Watercolor Patterns class. In this class, we are going to take on 6 different repeating patterns with multiple elements such as florals and leaves. The class includes tips for creating fun patterns, motive placement, layering, and brightening your watercolors.

At the end of the class, post your final project to the project gallery so I can see your amazing work! If you post on Instagram, make sure to tag me @femvisionary and I'll mention you in my stories!:D:D
Let's get to painting and unveil the mystery behind the watercolor patterns

*Pls note, if you find the class to fast, you can easily reduce the speed in the speed options
Madhu

Transcripts

1. Introduction: Hi everyone. How are you guys doing? High end model, I'm a watercolor artist. I go by the name fan visionary on social media. And by business need is fam visionary as well. I'm so excited about today's co-chair class is five meditative watercolor patterns. We're going to be going into julie fund repeating patterns, playing around with the different type of repeats that you can do so that your pattern of a stock's draw the interesting and you're kinda stuck with boring theme or things. We also going to be diving into different type of motives that cute flowers, easy flowers as well, leaves. I'm also going to be talking about how you can layer your patterns. You get surely bright bold printings. So I'm really excited about this class. There's so much of information. I would suggest watching the fun and easy floral class first, because we're going to be taking some details from there and bringing it to the sum of the practice exercises would be from there in terms of loops. So if you've never been to the leaves, you're still struggling, you're still new to watercolors. I'm going to go into that class burst and then diving into this because this is like a second step, the same class. So we are going to be covering so much of information. I'm so excited to get started the process with the classes. You can actually watch it and paint with me. I would suggest doing that rather than watching the whole thing and then painting. You can also watch and then pause and then again intrasite fiend along so you can do that process. So I'm with you while you're painting. And there's just much more fun way to do it. Again, follow what you feel like there is an auction bid offer you two reduces of the conversation. So if you feel like I'm talking too fast, you can slow it down. And if you think I'm talking too slow, you can speed it up, which is dread. Anyways, hope you enjoyed the class. Let's get started with all this juicy information and happy painting. 2. Materials: Hi everyone. Let's talk materials before we get started with our projects. So for this workshop, I'm going to be using this is called the sheets. It is a 100% caught and they are truly amazing sheets. They are rough texture. You can see the texture hears their rough in Finnish and they bought a lot of water. And like the textured effects for patents, I generally uses FIFO because it's also really good priced. And so when you're practicing, it's gotta be nice. Apart from paper, let's talk washer. So for this one, I'm actually going to be using toothbrushes. This is what craft ammo Bordeaux, both of my brushes actually for this class are from craft AML. You can check out their website and you get a person discount if you use the court model. And and this is from their Ed Edition set. So it's a set of nine pieces and it's pretty amazing. That round brush is really great because it has a very nice thin. And when I use it, you understand how amazing it is. And then you have this detailer brush, which is a size two, which is great for those thin lines. And we're gonna be using this as well. The two brushes that I'm using. So it's a size two Cy seven based on their way of numbering. So this does not mean that the round rushes of size seven is just in their list of nine. This is the seventh place. Okay, so don't get confused with that. Apart from the brushes, let's talk. I'm actually just going to be using a set of themes that I have. There's just so much available in the market or in terms of recommendations, it think is just so it's so difficult to recommend. I think I've really struggled with recommending because there's just so many options. What I generally use now is art philosophy, prima watercolor sets because they are premade says deBroglie Amir thing. Or you can kind of get them in boxes like this, so it's perfect. So this is what I, using. An additional option is you can get white knight. So these are White Nights are really amazing colors. So it really depends on where you're located. That's why I don't really give us fix brand because based on where you're located, you might easily find other brands and you might find it hard to get some other brands so it's getting good quality matters. Try to avoid pain like Hamlin, pebble, pass, sorry, fabric growth at the castle. Apps like that because they are completely student grade and they're meant for kids. Art supplies to the unnaturally high-quality. So just a wide there was anything else. It's just kind of a trial and error. Apart from this, we are going to be using masking tape. And I get this question a lot. What kind of masking tape? For these nice crisp juice? And this is just a jolly, normal white masking tape. There's nothing fancy about it is just a tip that you can actually try it on. But one thing I do before I do, I think, is I actually check how sticky it is. If it's very sticky, I stick it on something and then stick it on the papers too. It's not too sticky and it doesn't drip. Or you can just get to it doesn't seem to stick that well then that's also problems. You want it to be just enough and you can do a test. So take a small piece of papers, TPP it being around it and just check if this he issues because you don't want to complete your artwork and then find out at the tape was an issue when it ruined your impact painting. So keep that in mind. Also, that's another suggestion for KV papers because this paper is about 300 here sum, so it's pretty thick. So because of that, when I put the TPP, I remove it, there's no rubbing that happens. It's all perfectly fine. Apart from this, you would need of water. You would need some hand towel just to like wipeout excess water. I also use a black pen in some of my paintings, some of the details and this is just like a union of the unique band fine line. You can so many brands are Bilbo's just a water and Faith Truth, Ben, because they don't want it too much and it has nice tip and ego. So these are the materials that I'll be using for this class. Now let's get started with our projects. 3. Pattern 1 - Easy Florals: This is a really fun one. I absolutely love it. There might be some places where I go over certain things couple of times because it is patterns. But I want you to take the time, go through the entire thing you can actually paint with me. So this entire thing is done in such way that you can actually paint with me and pause, and then paint during the same patterns. You don't actually have to watch the whole thing and then paint, which is really crazy. I'm kind of there with you through it all. So what I'm gonna do is I'm starting off with my paper. I'm going to take down the four edges. I love doing that because I can get a really nice crisp edge. And especially when it comes to patterns, because I'm going to make sure that some of them go midway through. Some of them are not going to be completely done, like half-done patterns. So when that's the case, you need to actually have tape so that it's easier. The whole process gets very, very easy. For the TPP, I just use a normal white tape. What I do is make sure that it's not too sticky because that might rip the paper. At the same time. I don't take something that is two non-sticky that when you stick it, as soon as you paint, water seeps through. So you wanna make sure that it's between both. You can also test this. So that's another suggestion I would give tested before you go into your patterns, they are painting so that way you can just make sure that it isn't going to be into it. Because I've had students who up their paintings and it's really, it's just so upsetting, so tested before you go into it. But here you can see. Then, you know, I'm starting off with the first floral. I like taking a round brush that has a very thin, nice crisp tip. So it's a really nice step. And I start with a layer of mostly a pigmented layer. And then midway through the flower, I add water and making, make it lighter. So you can see how, because of that variation of usage of water, where I'm not taking just a very deep, big minted. I'm also playing around with a more water down there off the petals. It all comes together and it gives a dimension. The way I'm doing this is mainly through scribbles. In a way I would say like up, down zigzag motions in the form of a petal. It's a very rough way of doing it. Sometimes I just have thin lines. Sometimes it's more of the petals sheep. And I make sure I leave enough in the Center for the floor. Now let's do another one. You can see again here how I've done this. A GOD like using a brush that has a very nice tool tip does couple of options in the Materials section that I've discussed. Which brushes have this. So again, going around doing zigzag motions, lines. So what I tried to do, again, recapping what I've been saying. If you're struggling with this, it's not coming out exactly how you want. I do em. So I kind of squish my brush to give an m, then align like an eye, and then N and M and N. So I keep doing screw boats are zigzag lines in the shape of M and ends with thin lines in between. What happens with those thin lines at brings everything together. And it makes the entire artwork look more delicate than having it look like splotches of paint. The sticks practice because you wanna make sure that the lines are very thin. You wanna make sure also that the floor doesn't look like blobs of paint and you know, and that can happen very, very easily if you are in careful. So go through this process to a Jodi slowly and get comfortable with this flower. Now i go in with a nice thin stem that joins the three Floss with a secondary color that is the green. And then I do some leaves. For the leaves, I start with a nice pointed line, and then I press it down. I press the entire brush down, sweep it across and lifted up again. So you can see the process of how I do this. To get these beautiful, nice, pretty leaps. To always make sure for the needs that I have a small bit of stem before I've started the leaves. So it's not just, It's not just pressing it down from the center, but a small thin line. And then pressing into on. Another edition which I'm kind of sited liking in my patterns is joining these small lines, the two double lines that I've added, what happens is it gives the entire piece motion. It looks like the entire thing is kind of bouncing. It's not steady, it's not flat. So I like having these lines. It almost looks like bones, lines. And a tricks the brain or a, tricks the person to think that the Artwork is almost moving because of the small lines. It brings motion into the painting. Now, I go into the center with the green and draw something lions in the form of silicates like dashed circles to create the Center. Now for the next repeat, what I'm doing is I'm doing it in the opposite side, so it's not straight. This one is going to be randomly coming from up to down. And so that's how I'm going to fill up this anti-pattern. Having these flaws, this specific motive placed in different angles and in different places, and covering up the entire artwork. Don't forget we're following the same thing of having these then double lines to show movement within the painting. I also like to go into the tip of the leaves and add this small thin line. Again, Briggs about painting and brings about motion into the repeat pattern. So this entire thing is going to just have two colors. Really simple. It's all about technique. It's all about your brush strokes and you're getting very comfortable with your brush strokes. So first practice this motif separately and then bring it together in the pattern so that the entire artwork looks amazing. The print repeat, looks amazing. Don't have splotches of laws. Let's do another motive, this one coming in a different angle. I also tried to be very conscious to not have all of them coming in the same direction. So if one motive is coming up to down, the other one is right to left, the other one left, right. So just playing around with that can make everything come together and make the entire repeat look nice. So I've just zoomed in this so you can actually see how I do my m and ends up calling it m and n because that's the way I go about it. And then I have some like it. You can see this motive. The flyer is midway where you can just see like the top half of it is covered by the tape to show that it has been repeated or it has gone into the tape side. Again, the spin comes very interesting that having all your Floss and motives and elements within the taped ETO. It's good to have some of them that come outside. Mix the whole thing look really nice. Now I can do my green, the stem and the leaf. You can see how I'm doing the leaf again in case you are struggling with it, starting off with a nice tip and then pressing down i. And this is one of the most fun things to do, is learning how to do the leaves. And as you saw in the previous one, the way I held the brush was a little bit different. Whereas this is a little bit different, but it's the same effect that comes along. Just a difference in how the leaves look. So this is more long, whereas the one that we did before was more fatter, more rounded. So I've sped up this process because I didn't wanna go repeating into this. As I said, I like doing the double lines. It brings a balance to the painting. And it also makes sure when I'm adding the motives that they come in between areas, some of them coming in the tapes place. Really pay attention to the flowers. I am not being specific that they have to be five petals for battle's not really paying attention to that. Just going about it with a very abstract or on almost unplanned ways. So you have an M then n, then some lines than M, n lines. And doing that around. And for the center, making sure that I do a nice dashed circle in the center. Multiple dashed circles and center concentric circles. Hope that's clear. And these thin lines to bring the piece together. Now if there's any empty spaces at that point, I like to go in and add some flowers in keys. So you can see in this painting you have the center, which looks kind of empty. So I'm just gonna go in at that point and add a really nice flower. So it doesn't look odd. What I also like to do is step away from the painting, keep it far away from me and then check if there's anything that I feel that's missing or anything that I feel needs to be added, anything that I want to change, all of that. So I like actually stepping away. I've noticed that it gives me a new perspective and I can see things a little bit more clearly than when I'm looking at it straight in front of me. Also, when I'm painting, I'm concentrating on painting. So when you step away from the painting, you can see small areas of edits. So there you go. This is really pretty pattern. I am going in with a black pen just to do the centers. You can leave it as it is. But I felt like it was kind of missing something. So I'm just gonna go in with a nice uni ball black pen and do the centers has small circles. This black color also brightens up the entire painting and makes it look really nice. So there you go. 4. Pattern 2 - Leaves Galore: Hi everyone. Let's start with our first pattern. It's a really cool one. It's not your general idea of a baton because it is all over. You don't make any sense. So when you start painting, you'll understand what I'm doing is creating these curves. And I'm going to be painting leaves along the curb line. So I'm trying to fill up the space as much as possible. Some of them coming towards the tip is also really cool. So not all of them have to stick within the TPP area. Now that I've done this, I'm gonna go in with some really pretty leaves. You can see how I start off with a thin tip. Press down, Lift up, then tip, press down, lift up. One thing to remember is that it's always a stem. So I always make sure that there's a stem before I do the leaf or the pressing down. So I try to make sure that I don't have just the leaf attached to the stem, but there's like a small stem and then the leaf. And for the tip off the leaves, I like doing small lines to make the entire piece bounds and away. These small lines in small details bring movement to the painting. Now, how IBD this is by adding mix of greens. So here I've taken a lighter green and doing the same technique. And then I can go in with the deeper green and do and fill up the space basically. So that we're bringing in variation. It's not just one green. There is a light cream, deeper green and that brings variety into the print or the pattern. Let's do a close up of how I do these leaves. So then, and then pressing it down gently and lifting up again. What I also like doing is not having just all the leaves on either side, right and left. You can see the one that I just did. It actually comes to the centre. So having a leaf along the center of the line is also really cool because it breaks this monotonous pattern. Generally what happens if you've been doing leaves and you truly enjoy doing leaves? People just do right and left. And then that just keeps repeating. And that's really nice. But the center one where you have a leaf in the middle of the line that you're doing, in middle of the stem that you're doing is a really cool effect. So I would suggest doing that. Now as I go along, I'm also adding in more lightened down layers, which is more water. Don't watch three layers of the leaf. And also having some of the leaves common. Midway through. If you skip the practice exercise class, make sure you go and look at that lesson. Specifically that goes into how you can do the leaves. I go into a very close up version of the leaves. So you can understand, if you are really at a bigness stage, then you definitely need to watch it. And I also give you some tips about this. Now, I'm just going in and building up this pattern by adding more and more pretty leaves to the stem. Notice every time I do this, I make sure that the tip is pointed, as well as I add a dot to bring it together. Feel free to move around your paper. I've noticed with beginner artists are people who have been painting, but I still kind of struggling. They feel that they shouldn't move around their people. They feel like they shouldn't. Uh, you know, they need to keep their paper stuff and then they just have to move around their hand and it gets really difficult and tricky. So don't do that a lot of yourself to move around the people. I don't do it because I am recording and I know it can be really annoying when you're watching and someone keeps moving around the people. But when you're doing this at home, when you're practicing, a lot of these have to move around the paper. So when you're typing it down, you don't have to keep down the people to the people. You can tape it down just to the paper itself, so the paper is still free. Or another thing that I like doing is having it on a wooden board. So I tape it down to a wooden board that I can lift up, move around with me wherever I'm going. So it's a lot more easier. So you can see how this pattern is coming along. And you can see how it's filling up already just by doing these lines and making sure that they connect it all coming along. It doesn't look. It's bringing movement. I feel like the entire thing. There's a lot of movement to the piece. Because of the way the leaves are, how invading the collar. And how I'm also playing around with the lines and the tips of the leaf because that again brings it Movement. This is a new thing you will also notice me doing with my paintings. And it's this double line in a small curve that I bring into my paintings that I've noticed gives movement to the painting. So if you're not really sure about it, I would suggest do the entire painting without it. Let it dry and then add these double lines and see that difference. So when I tried it with and without a realized without it, it looked very stationary. The painting looked stiff. But when I added it, it just gave this effect of movement. So I absolutely love it. I kind of hooked on to it. So I would definitely suggest try both so that you can figure out if you like it or not. So when I'm going over areas that are julie that are overlapping, and what I like doing is taking a more transparent or water down layer for those places because that's when I can see the underneath layer. So you can see here on how I'm doing this, but you can still see the underneath layer because it's still water down. So I like doing that whenever there is an overlap that comes along in any pattern or any painting, it's really cool. So deeper color, leaf, and then playing around with it. One thing I've tried to be consistent within this pattern is all the leaves are the same size, even though they are thin, Thick, more rounded, less rounded, different colors. The actual height of them are the same throughout. Now I'm gonna try to, I'm going to just speed up this thing. So now I'm going to basically add in a secondary color. This is a purple. I'm going to add smaller leaves just in addition to some areas of this to give it more dimension, I like adding stuff like this because it just built up into the painting. So just going in with a secondary color, it's a barber. You can go in with a read if you want, you can go in with an indigo. Anything basically a secondary color that is going to brighten up the entire thing. I'm not adding it everywhere, I'm just adding it in some places. And so yeah, this is our final pattern. It's a really fun one. Now let's move on to our next pattern. 5. Project 3 - Button Florals: Hi everyone. I am so excited to get started with our second pattern. This is a differently on what we've been doing. Just the shape of the motive is different. So I wanted to give you that option. And as you can see, him drawing out the lines and I'm basically drawing curves. And they are opposites of each other. So you have the same motive and then the opposite of it is on the other side, and then that just keeps repeating. So it's not the same pattern like what we have been doing. It's a little bit different. So now that we've drawn this out, I like having, you can see some of them going towards the tip. So not all of it is fitting within the painting zone as I call it. So that is again part of the pattern effect. Now further painting, I'm going to be using to specify colors. So let's start off with the leaf. I'm using a detailer brush. I wanted to show you how the effect is with a detailer brush. It's a lot more easy, I think with the detailer brush to paint, especially when you're doing these and smaller details, like if you see in this baton it's a small pattern. Doing a detailer brush is greed. So if you're struggling and you kind of feel like with your Big Brother Sharp, not able to get these nice lines for the stem. Get a detailer brush. It's gonna make your life so much more easier. So this is a small detailer brush. There's different types. And this one is from craft AML. The list is in the materials so you can have a look at it there. So you can see how I started with a nice rounded stem, like a C. And then honored, I'm adding the leaves. This difference in placement of our shape of the motive. The motive, surely interesting. Now that I've done this, let's add the flour. For the Florida. I'm gonna be doing m shaped, petaled, n cheap petals and then some lines. So I'm gonna play around with that and create my flour so you can see how it's phage runoff. And how I do this is by drawing some m sum ends, some straight lines and bringing it all together. Now for the center, there's multiple options. You can either do it with a black band or you can go in with any effect. One thing in case you don't have space in the center in case what happened is when you are painting this, there was no space in the center. What I would suggest is to go in with a white pen and paint over it for the central area. Or if it's not with the white. You can use a black pen. So there's multiple options for The Center in kids. You kind of covered that area. If not, leave the center as an empty space. To that sorts an additional options. So here I just added some dots for the center of the flower. Now let's go in. I'm showing you a closer view of my motive. So have a look at it. And I think that additional dot that I do at the tip of the leaf, Julie, looks nice and creates movement. And you notice me kind of talking about that throughout this class because it's kind of small tricks that you can do to immediately make your odd stand out. Why I like doing this with benzo is because I can plan out the distance between the motives. I don't want to have them to specced out or to close by or make mistakes because that shows within the pattern. And when you see it finally, you will notice those mistakes, especially when it's something like this, where it is very planned and the spacing is very important. And some of the other patterns you'll notice this is not required. You don't have to actually draw it with pencil. But this one definitely go ahead and draw with pencil. Planet out. Iri is if you feel like there's not much space or you feel like you haven't kept enough of space and just make those changes. And just want to show you another placement of the flowers. So even though it's the same motive, I am playing around with the placement. So what becomes steady within this is the stem and the way the leaves are done. But my floss keep changing positions so they're not exactly exact. Repeating motives. They are different from each other. And you can see the boughten motives, they kind of half come through. Similarly, the one that's on top, the again half, because it's gone upwards. Which you can even try to do is add in different type of flaws. So if you solve for my previous skillset clause, I have one that was called Simple and easy fluorophores. You can use the Floss from dead for this project, for this patterns. Instead of using the one that I have used. This is really, really simple. I would say It's a simple one, but I've noticed some people do struggle. And I have had students who, even though it looks simple when they do it, they find it difficult. And what I've noticed with them is the basic issue is trying to get thin lines and declines. So practicing on that separately with a different sheet will truly help you make sure that you have thin and thick lines and then you don't have all of your petals looking exactly similar. That's the first thing. The other issue that I've seen is where they paint in such way that the centers BCE is missing. So for that, the other trick that you can do is draw out a circle in the center, for the center with pencil. Then make sure when you're painting, you paint around it. So that way you have that center portion. Two tricks, just to make sure your flaws are proper. If you're still struggling with it. There is the Discussion tab. You can add questions and I would be able to respond. So yeah, but I would suggest looking at my fun and easy Florio's class because I kind of like those Florida as well. And they are also great for patterns. So I wanted to show you another close up in case you weren't able to see the details. So just another close up. And this is our final pattern. Let's move on to another really cool one. 6. Project 4 - Fun Motifs: Let's start off another pattern. This is a really fun, what I call a baton. And as you guys know, it's following a different motive. And I'm actually going to take it a step further with the flaws. So along with what we've been doing, playing around with the m and structure, which is very rough. It's exact lions. We're going to take it even more and build it up. And you will see these flaws. I actually like it because it's a lot more brighter. So I just wanted to show you that little trick of brightening up your painting. So I've taped down my paper. And I'm going to start off with the detailer brush just because I find it really comfortable. Again, if you don't have a detailer brush, I would definitely suggest and recommend buying one. It's so, so easy to use and it's so comfortable. And you can also use a round brush that has a really nice pointed tip. So that's another option. The reason I've actually add given these two options of brushes, and I've also use them in different projects is because I want you to see the difference between the two. So you can see for yourself which one you want to use. I like doing this because multiple options of brushes, there's just an easier way and then thus a tougher way of doing things. So like a detailer brush, it's just going to make your life a lot more easier. So I just wanted to show you that. Here you can see I've done that little cute flower, kinda similar. Actually very similar to what we've been doing before. Notice how some of the flower petals are more watered-down, whereas the others are more pigmented layers. So giving that variation within the same color just by making sure that I add more water to get water down effect. So the floss that I'm doing now, our mid like kind of how flawless where the bud is on top and then the petals are down. Really keep in mind that the middle Santa has to actually be an empty space because it's gonna look a whole lot better than if you try to paint in the center with the orange. Because now I can go in with my second color, which is kind of a brown, and just add the center with small dots or dashes. Now that we've done, I'm gonna do my beliefs just taking the leaves that I'm doing for this branch. One. And I'm doing multiple because I feel like it's going to bring variety into the motive. So when I do this, I kind of take a green and then I watered down for some of the leaves and then play around with that. So you get some of the leaves that are little bit more light and that's also part of the watercolor effect. You want to have variation within your painting in terms of the Cognos, in terms of the amount used. So I'm gonna keep building up this motif. In terms of how I like working for patterns. What I like doing is booking one motive to the next motive to the next. I don't like doing all the motives together, like I wouldn't do all the floss together and then start off the dome leaves. Because what might happen is I might make a wrong estimation. And so there might be a space that is do empty, you know, that awkward spaces that just don't line up. It looks like there's something wrong, there's a mistake there. So I like doing more than one motive and then the next motive and then the next. So that way I can plan out a little bit more better and make sure that the structure that I choose for the second motive for the same Patton is covers up those empty spaces. I hope that's clear. So as I've been doing with the previous patterns, I'm adding those small lines around the leaves to just give it motion and bounds that having it flat. I don't know. I just feel like it really looks nice. Again, personal choice if you don't like it, that's fine. But I really like that effect. Anyways, now that I have my entire floss tried up, I'm gonna go in with a second layer of paint just in some places. So this is really cool. It actually brightens up your entire floor and also gives us an interesting element of layers. So I really like doing that, especially because I'm doing these really cute tiny button flaws, like most of the flaws that I've been doing in these tutorials have been really, really small one. So they are perfect for smaller scale flaws. They're not very detailed. So you can see that addition of that second layer of orange just makes it looks so nice and so pretty. Now I've drawn out with bent the remaining areas of where I want to add the motors. And I'm gonna be doing them one at a time. When you can actually just start painting with me because most of the information now is going to be repeated. Because it's the same motive. I'm just showing you different placements, How you can play around with the same motive, but changing the positions of certain things to give variation. So in this case, instead of having the center as the full flower, I have two that are half and then one that's full, which is towards the right. So I'm playing around with that. The next one, I'll do it a different way. So I wanted to show you that, but there's no new information that's coming up, so you can skip ahead if you want. So this is our completed pattern in the empty spaces. Whether it's like a lot of whitespace, I'm just adding in some flaws just to bring it together. Because I feel like the white spaces are just kind of empty. Doesn't look that great. So I'll just add some flaws in those Center areas so that it doesn't look too empty. 7. Project 5 - Curved Motifs: Now let's move on to our next pattern. I wanted to add this somewhere in between the patterns that we're doing because it's a lot more simpler. It's really cured. The anti-pattern looks really nice. So you can see how I started off with a really cute motive of a flower. What I tried to do is keep in mind that I wanted to be in that sheep. You can draw this with pencil if you feel more comfortable. I'm using my detailer brush because I want you guys to be comfortable with using this. Especially for small elements like this. Then going and using your round brush, which could be a little bit more tricky. The trick in this is to make sure that you actually draw out or you paint out a triangle shapes. So the the portion towards the middle is thinner than the one that goes outward. And that gives you the triangle sheep. If you end up doing rectangles with there is no difference between small to big. You will see that the pattern or the floor doesn't look that great. So doing this can really make your motive look really pretty. Now that I've done this, I'm gonna go in and add some leaves. You can see this motive is really COPD. It's compared to all the other motives that we've done and really played around with the posture, the movement of it. And I'm gonna go in and add new motives to this in a similar fashion that is, surely, surely fits into places within the motives does not going to be a lot of empty space in this repeating pattern. Now for this, I'm going to do really big leaves compared to what we've been doing. So you can see the shape of the leaf is really, really big. And it's a light cream because I'm going to go in later on and added a second layer of leaves that's going to brighten up this layer. So keep in mind Julie big leaves for the first one. This light green color. Big believes you can watch it down so as not to trans. It's not too opaque, so it's more trans Lucent. So making sure that you have enough of water. And then you can go in with a second layer of leaves. That's going to be a lot more A-B-C. Notice how the tip of the leaf, I like having them curved structures, having it as street. And this is one of the techniques that I think is very important to keep in mind. So whenever you are doing the leaf, instead of having the tip just treat the entire leafs treat, make it curve a little bit. And you will see that it brings movement into your painting. It looks more natural because obviously leaves don't stay exactly street, they bend, they move. Okay. Now that we've done, I'm gonna let it try and continue on filling this entire pattern with these motives. Notice how I'm making sure that all the spaces are kind of come with it. Another trick is to use the leaves to fill up the space. So you can see how I'm just making sure that I add leaves in such way that it filled up the space. There's no empty gaps between the bean thing. I also like doing deals that are coming halfway through the tape. So it looks like they're just part of a previous motive, you know, kind of giving that effect than having everything fitted within the bien thin ETO. So now that I've done this, I'm going to let the whole thing dry and then go in with a second layer of leaves. Generally, for the second layer, I go in with smaller leaves and in a darker color. This lifts up the painting, looks really interesting and also brings in color to the OD, to the beat pattern. So just going in with these small leaves and bringing it all together. 8. Conclusion: Hi guys. So you went through so much of information. I am so excited that she did the five patterns. I can't wait to see your projects. Please do share them in the Projects tab below. If you're putting it on social media, tag me so I can repost it as well as comment. I love watch, I love looking at I loved looking at recreations of the class that I do, and it's also an inspiration for other artists. So you can use the hashtags then visionary class so that other people who have done it, you can see what they've done and just get more and more inspired. The other thing is pleased to leave your feedback and reviews. It helps me a lot. It motivates me, keep going and it gives me more idea of what you guys enjoy. So I can do more of that. So that's really creates hope you enjoy all of this information. I'm gonna be adding two additional bonuses, bonus watercolor patterns in the upcoming week or so. So you get access to seven is not just 5-7 patterns, so that's fun. And follow me on skill shares. You get updates every time that I launch a class. And if there's giveaways and things like that, you are a dated and informed immediately so you don't miss out. Have a good week. Enjoy this month of guys.