WATERCOLOR TRANSPARENT ROSE | Janet Asbury | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 13m)
    • 1. Watercolor Transparent Rose Intro

      2:31
    • 2. Botanical Examples & Practicing the Transparent Technique

      11:57
    • 3. Class Project: Sketch and First Petals Foundation

      12:14
    • 4. Layering Petals Continued

      5:15
    • 5. Beginning Leaves and Layering more Petals

      12:57
    • 6. Leaves, Stems, and Flower Center

      11:24
    • 7. Fine Details: Adding Texture, Shading, and Movement

      12:36
    • 8. Transparent Rose Conclusion

      1:08
    • 9. Bonus Lesson: Flattening Wavy Paper

      2:53
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

83

Students

3

Projects

About This Class

I'm back with my fourth watercolor class!  In this class I will be teaching you how to paint layered, transparent, botanicals.  Our class project will be a transparent rose.  We will begin with a practice lesson on painting and layering the basic petals and leaves.  Then I will walk you thru completing your project from first petals. leaves, and last finishing details.  We will layer on some texture, movement and shading to complete our painting. Whether you're a beginner or an advanced watercolorist, you can jump in and enjoy this class.  I provide printables to trace and step-by-step instruction for the beginner  The advanced artist will find inspiration to add their own style to their project.  You can take these techniques and apply them to any potanical There are only four paint colors in my class project, and we'll do a bit of color mixing.

I've been studying these amazing transparent botanicals and just had to jump in and create my own. I've been inspired by a late, 1930's Doctor-turned-artist, Dr Dain L. Tasker.   Tasker created beautiful images of botanicals that he x-rayed, then photographed.  His work has resurged in recent years.  I've practiced several for quite a while now and love them!  I thought you would too.  They are so delicate, elegant and somewhat surreal! 

I provide you with a list of supplies needed below, and a couple of sketch/outlines to complete your project.  You will find the outlines, my photo reference and a list of supplies in resources.  Feel free to ask questions in our Discussion section. 

PS...I've included a little Bonus Lesson on how to flatten those wavy works of art with typical things you have in your home.  This type of watercolor painting uses a great deal of water and can tend to create a very wavy paper!

SUPPLIES:

  • Alizarin Crimson  (Windsor and newton professional is my 1st choice)  You may use any color you choose for your rose petals; pinks, yellows, peach..instead of this deep red.
  • Sap Green  (again, Windsor and Newton professional is 1st choice)
  • Burnt Sienna (W&N professional or equivalent) Any quality brown will do as well.
  • Ivory Black (W & N is 1st choice, but any black is good, including fine tip waterproof pen) 
  • 140#,  cold press, cotton, watercolor paper  (Arches is my 1st choice.  Quality matters!)
  • Round #8 watercolor brush with fine point tip  (Mine is a Silver Brush, Black Velvet series)
  • Rigger brush #0  (Mine is a Windsor and Newton) 
  • water reservoir and water
  • paper towels or cotton rag
  • pencil to sketch or trace image
  • kneaded eraser or artists eraser
  • Mixing palette or white porcelain plate

***  Quality watercolor paints and paper are very important.  An inferior grade of paint below student grade may not achieve the transparency needed for this class.  Paper also makes or breaks a project.  100% cotton watercolor paper is the best choice for best results.  I've found the less expensive Canson brand to perform acceptably, but not many others do.  

5bcb78e6.jpg

Meet Your Teacher

Teacher Profile Image

Janet Asbury

Watercolor Artist and Teacher

Teacher

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Watercolor Transparent Rose Intro: Hello, my name is Janet Asbury. I, I'm a self-taught watercolor artist. I've been working with watercolors for about 45 years now. Prior to that was acrylic and oils and had fallen in love with watercolor. And I hope that if you haven't already, I can help you to fall in love with it as well. A little tricky learning curve at first, but boy, once you figure it out, if that ever happens, you're hooked. Maybe it's you're hooked because you're trying to figure it out. Anyway. I stumbled on this artist when my fourth grand Navy was born. And in the abstract obstetrics department, the birthing wing it, or these stunning photographs of x-rays of flowers in all their transparency and glory, they were just running and I had to find out more about them. And I found out that there was a doctor in the 1930s called Dr. Dane L. Masker. And he was a bomb doctor and osteopaths and he was the head of radiology at a hospital he worked at. And he just decided one day do x-ray flowers and the results in his prints are still around. In fact, his artwork was on display. I'm not sure if it's still is in California. Absolutely gorgeous. So that kind of inspired me to experiment and play with these transparent flowers with watercolor. Very easy to achieve with the transparency that you get with watercolor. So that's what I did and that's what I want to share with you in my fourth class. And I hope that you will take this and learn some things and come along and enjoy painting this transparent watercolor rose with me. And I'll show you. So I've done and we'll just play a little bit and get the hang of it and then jump right in and paint this rose. I'll provide a sketch for you if you don't like sketching. Of both the petals am a kind of diagram and how, which placement, which goes 1, 2, 3, et cetera, to overlay them. And then a sketch for the leaves and stem stems. And let's do it. Come on. 2. Botanical Examples & Practicing the Transparent Technique: And let's get started with our practice. I'm just rewetting my Alizarin crimson here to practice some petals with you. Let's just have it as though we're going to paint our our big petal and the center. So that would be make an outline. Fill it in. Keep it nice and smooth. Is I love to turn my work which I can't do when I'm working with a big piece on camera. But with this little piece can pretty easily keep it in the frame. Then I'm just dipping into my water here and getting my brush nice and clean. Then I'm coming back with that water and I'm just going to soak the center and go right around the edges without actually touching that very outer edge. And the loosen up all of that paint that I just down before it gets too dry. So I'm going to have a nice hard edge on the outside of that petal because we did a wet on dry. Now I'm coming back in. I'm dabbing off my brush from the water and lifting out all of this wet paint here that I just wet. You'll use a lot of paper towels or a rag works great. Well, so just keep lifting all that paint out. Believing your outer crisp edge, right edge that away from me there and then push it back out. And here I'm going to push it back out. So now I've got a little streakiness happen in. So I'm going back in my water and I'm going to wet it one more time just to get a little bit closer to the edges. If I need to hear in there, I can leave a little more pigment at the top here where it might be a darker shade. Okay. Now with my brush is dry it off. Orion pollen. That water off a here again, until I have a nice, consistent color. If you get an edge like that, That's not cooperating and this kinda dried. Just skill Scrabble with water and it'll lose some backup for you. And you can lift it out. So I'm pretty happy with that. I'm going to go over it one more time just so that it's nice and consistent. And that's going to call that done right there. So that's the way we do all of these petals. Now, each one has to completely dry. And I mean, cooled to the RF. Dry to the touch. No cool mess. If it feels cool, that might still be slightly damp. So when that's really dry to the touch and I don't like how white it is right there. So I'm just kind of rational that over when this was really driving the touch, we will go ahead and do another petal overlaying that, making sure each layer is dry before beginning a second, we're just going to practice layering our petals here. And you're going to keep your base pretty even. And not going below where you started on that first petal. Again, outline. Fill it in, wet it in the center. Wash and scrub around gently with the brush, avoiding the very outer edge. And then come back in with a dry brush. Not completely dry, but just wiping the water off of it, come back in so that your brush will pick up all of this water here. And the paint that you kinda scrub down carefully, you don't hit your edges. Might mean to rewet again, so you get that consistent color. With transparency on the inside. My left edge here was kinda heavy, so I'm took that down a little bit more. More wash here on this side. Get that nice and transparent. Leaving my outer line intact. Just making sure my colors consistent throughout the entire petal. And as you see, it does not lift specced first paddle. Going on to the third petal here. They really should have waited till this one is dry, but I thought I wouldn't hit it. Oh, well, we can redefine that afterward with a very thin outline or just let it go. If this is your project, you're going to be layering lots of petals back with my water. Vienna. Square of it out. With them. Flip in here, scrub it out, and we get around that edge. And now I'm ready to live. My wife and my pain out. Going in with a dry brush. And if you work kind of fast doing this, it won't dry out on or just come back and went along more water to keep it the same consistency. It doesn't dry out on you. So where this blade is here, I'm going to just lift this out because I don't want to join him up at all. But when that dries can actually come back in and put a hard edge on it just by lining it. So let me draw that and let's see what it looks like. And that's right. So you began to see the layered look. And of course with our project, we're going to do a lot more layers than that. Let's move on and do leaves. And I want to show you how I mix sap green with just a little bit of red to get a nice deep green for foliage. So I've got a bit of red here on my palette. And I'm just gonna put it right there. And I kind of like that. So, and say I'm going to give it a stem. Because a short rebel stem here. And then come off here with a leaf and start our leaves. And I don't trace any of this. This is just practice or I mean, I don't sketch any of this. It's just practice. It doesn't have to be perfect. Of course, art never is perfect. So let's just go with that. And now I'm going to put the water inside this leaf and it will be a nice little transparent leaf. Pull it off with the leaves. I like to leave a little bit of color in there and not completely go to transparent with them. But I do come back in with these lines in these later. So I missed a hard edge here. Got too close to the edge, but see I can add it back in just by hitting that dry paper right there. And then I'll lift this app. And that's good. So there's one leaf. Let's go ahead and lay our second leaf in here. And mixing our sap green with a little bit of red. That deepens the green. We will start our second leaf. Going to Layer. Just finishing up our practice here. Lifting out our last leaf. Moving right along, Let's start our class project. 3. Class Project: Sketch and First Petals Foundation: I'm starting with a very basic sketch. Simply putting my first petal in, not all the petals and outlining my stem and where my leaves will be. Just for overall balance. You can trace the petals that I have given you in the resources here. Just price, trace that one, center petal and your leaves and stems. Now we're going to begin painting our first petals. Except I think I want to take these pencil marks down a little bit more, but don't want any of this showing up after I've laid down my paint. So a kneaded eraser is terrific. It doesn't leave any eraser crumbs on your paper. And I'm just gonna take that paint out right now so I can lift up all this pencil and really go light. I'm sorry, it's very hard to see with my bright video lights and of course how light the pencil is. But you have the sketch there, the outline of the petals and your stem and leaves. So I'm going to take this first petal and fill it in completely with straight Alizarin crimson and pretty thick consistency of water and paint. Fill it in, outline it, fill it in just like we did in practice. Put my edges nice and smooth, are unhappy with them. And now I'm coming back with some water. Let them share. Had don't slap someone drops around like I just did. For you. Just keep an eye on that and dab them up right away. It's not a problem since a wet, messy kind of painting. So it happens. Lifting out a nice crisp edge, some leaves behind a more water here. And with rewetting and a little bit for a good consistent color flow here. Doesn't take too much water to come back down when it begins to dry. Just a little bit more. Just continue to wash out the pigment in the Center. For me. Nice even tone. And there we go. I've left a little bit of pigment at the top where those folds would be. Pretty happy with that clean up that edge there. Same method. We come outside that line and you don't want it, just kinda scrub it out with a wet brush and lift it with a clean paper towel or clean ride the edge here. So a little heavy. I'm just dabbing a tiny bit of pigment back in here. Or these folds would be maybe a little shadow. Well, all got away from him. So nothin that back. The dance here, back and forth. You have it where I'm happy with it. Clean up any edges that might have gotten away from you. Okay. This is completely dry. I didn't use a blow dryer and just let it naturally air dry. And now I'm going to put my second petal dam and Small Outline. And you can look at your diagram that I have in resources for shape and placement of the consecutive petals here. I have them numbered for you in order or just follow along with me. I'm going to go ahead and speed this up because I If we can just move right along here. Thank you. I'm not real try here on this petal on the right, but I'm really not going to touch it. This petal on the left, avoiding touching the one on the right. That's not quite dry. Stay here we outline. Wash. Left out. Simple. Simple. Okay. Okay. Hi. All right. 4. Layering Petals Continued: And welcome back. Here we go, lesson part 2. We're moving onto pedal number 5. I've got this sped up in double time so we can get through all of these petals. Of course, in real-time, you're not going to be able to do that. If you need to pause at anytime or stop and restart, you can do that. It's at your fingertip control here. So let's move on here and petal number 5, fill it in, draw it in, fill it in, wash it out, and continue to lift out, wash out to a, you get that nice transparency in the center, leaving your outer hard edge behind you. And our flower is shaping up. We've got our basic shape here. Now we're just going to add in some layers as though you would see right through this rose to every petal in every layer. So we're going to layer upon layer here now. Continue our process. Line. Fill, wash, lift, wash, lift, refine those edges one by one petal, by petal, making sure again, you're completely dry in between each layer. And I'm happy with that petal right there. Clean up this edge a little bit. And I think that's a wrap. Move on to the next one. Okay, we're nice and dry. I'm going to go through this center petal here. Outline. Feel it in my lines just the way I want them. Before I go for the center wash and lift that down, scroll around to the edges, and begin to lift out and the white paint on my clock. And either 5. Beginning Leaves and Layering more Petals: And welcome back. We are moving right along, moving to our leaf section here. Same process, outline, fill it in with a medium pigmented wash. Get your lines the way you're happy with them with a nice fill. Come back with a brush full of water, scrub the inside out, and then lift the inside. Keeping your outer hard lines nice and crisp, making sure you don't splatter, like I just did wash that inside. Just moving your brush back and forth is kind of a little scrub that will loosen the paint so you can lift it out. Maybe a crisp lines, a little more water to get the proper gradient. Nice even tone all over it. Go outside, you're lying like I just did a little lift with a wet brush, will do it. Clean it up. Not lifting completely at the bottom of this leaf. I want it to be a little bit of a darker pigment and you can play with your leaves this way by lifting just enough, but not too much to have them to transparent. You're not really doing much layering on these leaves just at a couple of points here and there. Unless you draw them differently and you want to do more layers, you're welcome to do that. So I kinda lost my edge up there at the point, put it back in. I'm smoothing it out. If you paint outside the line like I just did, it will run outside the line. That will follow the water that you just lay down. Some cleaning up my edge to unhappy with it. Turning my paper to get this edge. Well, I'm actually adding in a little bit of pigment here on this edge to define it. As I've lifted out too much and I do want a little bit darker there. Background right side that just getting my color the way I want it here. And onto our next leaf. Same process. I do have these sketched in very lightly. And you can trace my sketch or you can do your own. Now here's one of our overlaps, and we'll just have a couple of these. So I've had to wait till that leaf was very dry before doing this second petal or a second leaf, I mean, leave my point kind of more pigmented than the rest. And then I'll begin a little scrap out and lift out the paint here. And this is the way the leaves are going to go, pretty much the same as the petals. So from here on out, I think I'm going to give us a little speed. Right? No. After little drying time, my leaves are dry so I won't put my hand in them beneath me and my petals are completely dry. I'm going to add in this line here, which is a folded pedal line. And you'll see that on the outline of the different petals. So I'm just going to align it and sell it in. Following the bottom edge of that first petal. That's there. And then of course I'm going to wash it with water and lift out the center of that very carefully because it is a much smaller area. Keep my hard edges here. I've got one folded petal here. And I'm going to turn this little petal on the bottom right into a folded petal as well. Just by giving that edge a second layer, my second layer of pigment, and come back with a little water using the point of my brush, not to remove all of it, but just the center of it. To give these two bottom leaves a nice little folded petal look. Where nice and dry here. So I'm going to add in these two angular petals here. One on the left. Starting with the way the edge here. I'd get my outline and fill just right. We find that point there. And then flood it with a little water. Scrub it out, and begin to lift it out. Almost done with all of these pedals, just a few more left again. And back to leafs. Got my sap green mixed with a tad of alizarin crimson. And here's my other layer leaf here. Picking up some of that pencil on the floor, I start outline my leaf, fill it in. And of course I had to wait until the other leaf was completely dry before continuing. What a water wash. And I'll lift and like I said, not quite as transparent in parts of the leaves, leaving a little shade there at the bottom. And that's up to you. See you want to leave a little color on them. I especially like it on the edge there. And a little more on this sap green and Alizarin crimson. And that gives you just a bit of a deeper green and the brightness of that sap green. And another leaf, they're just going to dot in a bit of that pigment here along the edge. Smooth it out. So we'll have a bit of a shade there at the edge and onto petals again, wrapping it up. And I will see you in Part 4. 6. Leaves, Stems, and Flower Center: Welcome back. We are moving right along with our leaves here. I've got this video a little bit sped up since you have already done the prior leaves with me. In this lesson, we'll be finishing off our leaves and we'll be adding in our stems are filament and anther in the inside of the flower itself. Okay. I'm just going to use a wet brush here to clean up this edge and then dab it and kind of redefine it. Got a little fuzzy, right? Our flowers completely dry. Then I have one more small center petal here. I want to add. It is on the little diagram that I gave you. So I'm going to outline it and give it a nice or wet wash and then lift. I'm going to begin penciling in my stem, the bottom of my flower and my stem all the way down. And then just like my leaves and petals, I'm going to fill it with paint and then I'm going to lift out a good bit of it. And you've got the little green leaves that come up from the bottom of the flower and penciling in very lightly. And I'm just lifting with the kneaded eraser. Great eraser by the way, no params. So that I have very, very faint lines to follow and nothing left behind. After I've painted. So coming in with my mix of sap green and a little bit of the Alizarin crimson. To fill in this bottom of the flower. I'll share what they're called maybe rose hips. Then on down through stem. I'm lifting out why my paint is still wet. If I continue and do the stem, it may be too dry for me to be able to live that to the degree I want to lifting up some of this pencil here to continue on the stem. Just like giving this a nice curve to give it life here. And if you don't want to do the lifting out on this stem, you can certainly leave it full-color. Do a faint color if you like. Thank wash. Just straightening up my lines here. A little jaggedy and filling out some of that center. Pigment ozone are really lights then when they come back in deep in the engines on trying to get some nice smooth lines here. Just a little fits here where I'm scrubbing out a line I don't like and lifting it with the paper towel and moving on. The leaf stems, work it into the main stem here. And I'll find that lift out that joining area to smooth it out. And I am going to very carefully lift out the center of the stem, the very tip of my brush, down to where it joins the main stem and smoothing that out. So I looked up what the name of those little leaves are underneath the petals and they are called sepal. Sep, AL. See, I learned something giving this class, and I hope you do too. I'm painting in this sepal right now. And again it's the same technique. I'm just painting in the entire section. And then I'm going to lift out the center part, leaving they outline the wet it a little bit is this very detailed with a small parts but with a nice brush tip, you can do this. Okay, If you have black, kid share black out and get a nice heavy pigmented mix of it right here. I'm working right out of the pan. And we are going to paint the center of the flower, which I believe are called answer. And I'm sure I'm pronouncing it right? But the little seeds, so to speak of the flower, are just going to paint tiny little dots here. A little mound over the receptacle, which is that little part under the flower. I thought it was a rose hip and it may be on rows. This tiny little dots and fill that area in. I'm using a Winsor and Newton Cotman, a rigger brush in a size 0 for this, any very fine brush you have with the woodwork, just great. You could probably even use a marker for this if you don't have black. The tip of a pen would work really well. I won't tell that it's not watercolor. If you don't. Now I'm just pulling some thin little lines down from these dots. 7. Fine Details: Adding Texture, Shading, and Movement: In this lesson, lesson five and our final of this series, we will be adding in our fine details. These details add texture and, and depth and movement to your painting. They don't interfere with the transparency of your flower and leaves, but just add that life to it that it lacks without them. So using this rigger brush, It's a size 0. I'm going to use the same type of wash that I use to paint my leaves and petals and go back over it with a very light touch. Just painting in some fine details. Starting with the leaves here, painting in the veining. And I don't trace these out first because the transparency of these leaves will it'll just show too much of your pencil marks, so I just kinda wing it. If you're uncomfortable with that, you can trace and some really, really faint pencil marks if you like, or just wing it. You know, if you've come off center a little bit, it kinda gives the leaf a little more movement. So if it's not absolutely perfect, it will work. You're not going to look at a picture in nature that's absolutely perfect and centered and symmetrical anyway. So let's line our leaves and then we'll add some texture to our petals as well. Okay. And these bottom lines came out a little too heavy for me, so I'm going to try to knock back a little bit of that pigment and let that out. It's just not as light as the top and I want it to look the same. I could leave it, but I'm being fancy. I'm going to hit this edge here and I kinda lost my hard edge. So I want to add a little bit of depth back on that edge. And then a little shading on the receptacle here. So I'm learning flower names, lower part names here. All right, let's move on to the petals. Adding in these fine lines is going to add a depth and dimension to your petals that the flat transparency won't show. So just kind of a little dance here back and forth with a few lines at the bottom. Keeping in mind, none going all the way through this petal because it's one large petal. From being a transparent flower, you could see the lines all the way through. So I'm pulling them down beyond just the top of this petal. And we want them to be faint. So little dance back and forth therapy and pigment taking away a little pigment to like get up to where I like it. I'm just going to smooth these lines on the edge out. If you want more of a definition, you can leave them in very obvious, but I really just want a bit of a shade to make it look like this petal has some movement on it, dabbing out. Q. Just kinda let your eye guide you. Now with each of these petals, this one is a little more on an angle. So I'm going to bring my lines down. That pedal on the same angle as the pedal itself is. So that top center flower has lines that are pretty straight up and down. These are going to kind of go with the angle of the pedal themselves. Everywhere you have a contour at the top of your pedal. You want to follow through with a little bit of lines there. And that gives a kind of a slow the petal we're a little bit wavy, giving it depth and dimension. The side petal here is on an angle, so I'm bringing it in that kind of speed us up now that you've got the gist of this. So let's just finish up with all these petals here. Bringing in some lines at the top, mostly at the top, following through on some of these bigger petals. You can see that the consistency of my paint here is about the same as it was with my petals themselves, just like the leaves. The lines for the leaves were about the same consistency as it was for my petals. Let's finish up my add back some texture and some of these petals as it's dry, quite light. I do want to be able to see it. Especially creating the look of these little gentle folds here. When adding in a little detail on these petals here, kind of outlining them, even giving them some of these little hair-like lines to create texture in them. And then I'm going back to my stems here. I'm going to kind of create a shadow on the right side of my stem, starting up here at the receptor colon and work my way down. Paint to then, and then I'll smooth it out with a clean, wet brush. I'm using my rigger 0 rigger brush to paint these in and back to my size six around to smooth out that hard edge. I'm leaving the hard edge on the outside. But on the inside I want it to kind of blend in, feather in toward the left side of this stem. And then do that all the way down and find a wonky lines there. But because I'm going to smooth it out and that's okay. Sketch it, looks edge. Brush and feather it in. I'm going to add a little bit of this burnt sienna here at the bottom of my stem. And just a little outline on the right here for a shadow, I'd like it to look a little more woody. Show you using my rigger brush again. I'm just going to line this right side and then Feather it in. We just kinda refining my edge here. Just kind of pushing this paint out to the edge to get a straighter line here. Moving onto the smaller stems, I'm doing the same thing, putting the shadow beneath the stem, feathering it in, lifting out that upper side. Just deepening the color to kind of match the center stem. Otherwise, these guys look a little too light. So putting the shadow here underneath and feathering it in. If you look really close at my stem, the hard edge is a little bit rough. This is because my paper is the arches which is very textured. So it tends to dry a little bit rough. So I'm coming back with just a wet brush, not so clean. And then I dab it on my paper towel and just kind of Sather that edge a little bit so that that grainy texture from the paper isn't evident. It doesn't make my line wonky. So spake. So pulling this color a little bit. Just refining my edges here. Couple places are too thin. Work them out right here. This evening, everything out, cleaning everything up. You can skip this step if you don't care. I just kinda like to be fussing and work with it. 8. Transparent Rose Conclusion: Well, I hope you have enjoyed our class, and I hope that you have produced lovely transparent robes. And I really hope that you will post it. Share it with us so that we can enjoy your work as well. Follow me if you would, and you will find out when my next class is about to start and when it is officially started. And let's do some more fun things together and I would love it. So please, if you would follow me, would you please post your work? I'd love to see it. Seeing what people have done. If you are on Instagram, I'm Janet Asbury on Instagram and on the love for you to tell me if you post your work there. It's just so much fun. We see what people do for my classes. I really enjoy it. And I hope you've enjoyed it. So thank you for taking the class and see you next time. 9. Bonus Lesson: Flattening Wavy Paper: So since this piece uses a lot of water, we are going to end up with kind of a rumbled edge, possibly. And there are ways to stretch your paper which are professional and require a board and stapling and gum tape, but all kinds of things. And I'm just found this a really simple way that works. So I take my artwork the backside of it. And with a big thirsty brush, this is a hockey brush. I just soak the back of it. And I mean, really put the water on completely saturating the paper. Just the backside. So you're not re-wetting your artwork. Nice and juicy. Okay. That's probably enough. I'm on a waterproof surface here, but I'm going to end up putting this right on my table. So there's my really wet painting a little bit more here. All right. There's my soaking wet painting. I'm going to set that over here. Remove my Teflon sheet. And I'm taking just simply two pieces of paper towel. Don't cheat their art work is going to go face up. Two more pieces of paper towel on top of that. And now my biggest pad of paper goes on top of that, that way ahead, the entire surface pressed. Okay. And then I'm going to take all my other you can use books for this. If you have big books, you can put that on there, but I just want to weight it down pretty evenly. And then I've got this job and I'm gonna put it on one end. And then just whatever got a bottle of the Buddha here. So whatever acrylic gesso and spaghetti sauce might be dinner to wait the other end. So I've got this really heavily weighted and I'm just going to leave that sit for a day whenever or at least a day. At least 12 hours anyway. So it's completely dry and it comes out pretty flat and usually perfectly flat. Sometimes I've had to redo it, but it's a great way to do it and it's easy and I don't have to trim boards and trim off staple paper edges. And anyway, that was for funding for free. Yeah, hope it works for you.