Watercolor Tulips - Fun, Easy and Simple Flowers to Paint for Spring | Ashley Triggiano | Skillshare

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Watercolor Tulips - Fun, Easy and Simple Flowers to Paint for Spring

teacher avatar Ashley Triggiano, Artist + Designer - ashleytriggiano.com

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

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

Lessons in This Class

5 Lessons (41m)
    • 1. Introduction and Overview

    • 2. Supplies

    • 3. Looking at Tulips and their Shapes

    • 4. Practicing Petals and Shapes

    • 5. Class Project: Tulip Painting

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About This Class

Springtime equals tulips, right?! Celebrate their beautiful arrival by painting them yourself to display and love year round. In this class, we'll look at the basic shape of tulips, practice their petals and leaves, then play with wet-on-wet and wet-on-dry techniques to make unique tulips. 

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Ashley Triggiano

Artist + Designer - ashleytriggiano.com


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1. Introduction and Overview: in this class. We're going to be looking at tulips first spring. I thought that would be a fun subject matter for us to explore together. As things get warmer outside and flowers start coming up Eso Today we will be practicing how to pink tulips, Um, both with a wet on dry technique and a wet on wet. And then together we will practice some of the shapes and for a final peace will put it together with this, um, arrangement or flatly, that I did of five different tulips and different colors that I think would be really pretty framed once you're all done as well. 2. Supplies: for supplies. Today, you will need a size Tim or larger. This is a size 10 student. Great brush. If you have others, you can use them. You could even go up to a size 16 if you have it. But for today, I'll be using with eyes. 10. Um, also be using this 36 pan ah watercolor set. We have a lot of different colors to choose from. I'll be primarily working with, um, some magenta colors, fuchsias, quarrels, pinks and then our yellows and greens. And you can see I use the palate, um, lid. Teoh. Mix some of that up, so we'll be working on that as well. So if you have your paper, your brush, your paint and water as well, we will get started. 3. Looking at Tulips and their Shapes: When you think the basic tulip shape, you probably imagine these three pedals. They look like a oval, um, with around bottom and curved tips at the top. But let's keep in mind that tulips very summer thinner and taller, and they're kind of closed with their pedals before they bloom, so they have a very thin shape. Meanwhile, some pedals are whiter, and when a tulip is in bloom, it will have a fuller shape and have a little bit of a softer roundness to it. So not only do the size and overall shape very of a tulip, but they can also vary in color. Ah, lot of tulips might just be a single color, while other types of tulips have blends in them. These have yellow and red, but you'll see pink and white blended together or purple and pink. I'm sure you're familiar with a lot of different combinations, so keep those in mind while we paint today with those components in the back of our mind, we will get started practicing some petal shapes and some basic curves that will help you make your tulips 4. Practicing Petals and Shapes: So we're going to look at two different ways to paint tulips today. Um, the first bullet get is wet on dry, and then the second is wet on wet. They're both great techniques. They both have their benefits, and, uh, cons as well. Their disadvantages the wet on dry, I think, um, gets a really pretty smooth texture for some of your pedals. Um, where the wet on wet. You get a little bit more of that marbling. So some of your, um, till apps you might see have a lot more Grady INTs? A lot more, um, shading and variation in their color. So it really just depends on what type of tulip you want to paint. Um, I like to do about if I like to mix them up. Sometimes I'll do what on dry. And then once it's wet, if I want to add in some different color a different shade, maybe a more coral color on top of a pink that I've laid down while it's still wet, I'll go and pick up that quarrel and drop it in. Um, so you have a lot of options, and first we are going to practice the shapes off the pedals. If you've taken the floral beginners floral class, you'll be familiar with the idea of pedals. If not, we'll run through it here. A swell, Um, and also the very distinct tulip leaves, which are essentially really just a long brush stroke, where you start with the tip of your brush just barely pressing down. That's how you get that thin section and then pushing down with the belly to get the big, thick middle section and then lifting up back to the tip of the brush. Just a Z pull away so you get the thing again. So that's essentially what we're doing. And you can attach that belief to the stem as well as you see here. So let's practice that first. Let's make sure we get our brush wet, and he scooped this down to make sure you can see what I'm doing. Perfect. Actually, you need to see my water that much. Um, there we go. So I am going to practice this first petal shape by picking up paint of my color choice and doing like a magenta saturating my brush in it. And so we're doing wet on dry for this first practice. Um, flower. So what you want to do is similar to what I mentioned earlier for making the leaf by doing light pressure, heavy pressure and light pressure. We want to do something similar here. So you're going to do light pressure to start the bottom and then push down with the belly of the brush. So you get that thick pedal and then I lift back up. I don't drag it out the way that I do with the Leafs so that I get that long nous that length long nous That's not a word that link. Instead, I kind of just press into it and let it finish there. So you get that pedal feeling so that would kind of be like an outer pedal. Um, in order to make this kind of center pedal, it's basically the same thing, and I'm doing wet on dry again. And But instead of just doing one, you make that curve again by pushing down with your brush lifting up, and then you do another one right next to it, basically parallel but flipped. Just the reverse. You're gonna need it. If that makes sense me up in the middle and you get another classic, like, kind of center pedal shape, and then the other side, whatever your, uh, pedal might be the opposite. So just play around with that and even you can see down here, Um, this wet on dry tulip was not necessarily pointed at the bottom. It kind of is rounded. And when you end up doing the full tool up to up, what will happen is it's okay to have that curve, right, cause the base of the tulip is rounded on sometimes maybe the we've looked at tulips, the leaf or the pedal on the outside will actually extend that way. Right? So instead of being curved in, it points out to the left a little bit. Um, just play around with those different shapes. You you can do a lot that way. Um, play around with putting them together. You could just do something as simple, list three brushstrokes and have a tool up just like that. That one is really simple. So let's practice went on what this time went on. What's a little more difficult to see in the video? Because essentially, you're starting with just water on your paper. So I'm gonna make this this pedal in a wet on wet version. I'm going to come down and make my two marks the side by side marks, and it's wet. So I'm going to pick up my pain. Pick up, um, all that pigment on my brush, and from my vantage point, I can see where it's wet. Um, I don't know if you can see necessarily as well, but the paper is wet when they go in and drop my color in where I want it, I kinda want to do the edges and let it bleed and marble as it wants to. And so, with that way, you'll get that kind of more natural variation of color. It's not such a smooth color. It's, um, instead kind of marbled. And, you know, nature doesn't make things perfectly flat and smooth. Often, there's variation. What we would consider little defects may be in the perfection, but that's what makes it natural and beautiful. Eso don't be afraid to do that, and you can keep playing with the wet on what we can do. One of the outer petals. We'll just put the water down while it's wet. I'll go and pick up my paint and I will come in, and I really like how that bloomed there. I think that's kind of fun. Um, and I might go over the other side as well and let that spread out. Fan out, Bloom, um, and get that variation. And then finally, what we want to practice on this is pretty simple. Is the leaves themselves? And again, um, I would pick up my paint with a wet brush. I'm getting green, just a basic green. I'm not mixing anything for this. And again, like I mentioned earlier, it's just using the tip of your brush for the beginning, pushing down into the the belly of the brush and then lifting at the top. So little light at the bottom, thick in the middle, pulling and pulling and you gotta leave, and so you can practice that a few times. I encourage you to practice that a few times. You try it in different shapes. You can try it in different angles. Um, practice that leaf shape versus the rounder petal shape, and then for a final practice, let's try to do a wet on dry tool up and then a wet on wet right here. Mr This over. So for the wet on dry again, we're going to start with the dry paper. I'm going to pick up my, um, paint on my brush, and I realize you have not been able to see that. I am sorry. Here we go. And pick up the paint on my brush, and I am going to start by me. I tend to start making the outer petal, so I'm gonna do the one on the right, and I'm just gonna smash my brush down so the belly gets in there and Oh, do you see? I just splattered that. Well, that'll be a fun effect. That is not intentional. You do not need to splatter. Um, that was a mistake on my part. So what on dry? I'm just gonna put in an hour pedal. I'm going to put in a left pedal, um, by smashingly rushed down, getting that shape going, and then I want to fill in the middle. And this is where you get a little bit of freedom to think about what you want the overall shape to be. This one's a little wonky, since I I threw myself off by, um, splattering the paper. Um, but for the middle, I just want to kind of fill in where the gap is and maybe round off the top so that it's just rounded s. So what I'm gonna do is similar to the leave shape. I'm gonna go in kind of thin in the middle, but then let it push down and widen out at the top. I'm know I'm gonna let this be my tool up. I am okay with this. This is, um, unique tool of I might add a little bit right there. And after it dries as well. The wet on dry. Once the entire piece is try, you could go back and add like a wine to delineate where the metal really is. So we'll wait for that to dry and maybe go back and do that. So I am gonna prints off my brush again, and we're going to try this on wet on wet. And I am not gonna splatter. Maybe this time. Um, So I'm going Teoh again. Start with an outer pedal. I'm going to lay down water for that outer petal when you get my brush loaded up with color , and I am going Teoh. I go along the edge a bit and kind of let it bloom the way it wants. And so there's a light, um, very light wash there at the bottom, kind of blooming out a heavier bloom at the top. It's charging into the water. I might add a little bit on this side and let that Len, and I think that's pretty. That's really cool. So I'm gonna let that be the way that it ISS and I am going to go ahead and come to the left side to do the same thing. Rinse off. It's OK if there's some pigment that the point is not necessarily tohave. Clearwater. Perfectly clean water on your page before you apply the pigment. It's just to get it wet. And if you're putting pink pigment into a light wash, it's already got just a twinge of pink on it. That's OK. I don't feel like you have to go get clean water every time you change. Um, you're wet on wet coloring, so I'm gonna add my water. It's got a little tiny bit of pink. Um, that's okay. Adding water to the left got my pain. I'm gonna charge up my brush loaded with pigment and I'm gonna come in And I think this time in into it on this edge I didn't drop in some color like this. And so now I've got to outer petals. Um, I don't really care for how I personally, right now, I don't care for the fact that they're like opposites like full bloom appear heavy down there. I think that looks kind of odd. So I'm gonna go back and pull that up a little bit. You can always clean up your paint by going back in with a slightly cleaned off brush and smoothing it out, which is what I just did. And I actually have a bubble happening here at the top. So there we go. I got him popped. And then for the middle piece, I've got a lot of, um, damp, wet paint hanging out already. You can go ahead and charge your brush and put a new one in there. I think I'm gonna just wet my brush and we'll see what happened. That's the beauty watercolor. We'll see what happens. I think I'm just gonna take clean wet brush and make a middle pedal through the middle and let the already wet paint come together so we'll see what that looks like. I don't love it. It's okay. We got too much water on my guess. You'll see it kind of pull up, although it's interesting if you give it a minute to settle and for the paint, uh, do what it does. It's interesting to go back and pull the pain around and see what you can make. Just be really patient. Don't try to overwork it. Um, actually, I don't just like that. Too much, actually. Might go pick up some more color, though, and add to the wet on wet since it's already what I'm still doing my wet on wet, I want to add. Here we go a little bit of a petal shape there, so that's a little bit better. Um, and you can practice. That's a couple of times, obviously, with the ones I just ran through with you. I did them really kind of thick. The ones that I practice earlier, I did it more of a oval shape, so I can show you that if that's your preference, just don't. Don't try not to feel like you're doing it wrong. If your, um, tulips look rounder, they're different shapes that just it all depends on the length of how you're putting your brush down. If you're making a longer stroke, see, that's gonna give you that more compact oval shape. Um, again, on this side, I'm not pushing out so much, I'm letting it kind of be And I'm making that shape and I'm gonna go down to the middle and push my brush in and boom. And if you want to have some of that pedal coming on the outside, you can build that in. Don't feel like you can't do that with those two brushstrokes that meet in the middle. So you've got a lot of options. Um, I think I mentioned earlier. I wanted to come back to this one, kind of add a little bitty line indicating maybe where there were some delineation would be and this one I kind of Teoh give the illusion of pedals behind front pedals. They would be darker because they would have shadow. I might come in here and but in some darker paint so that I can have some of that, um, contrast happening, And so then you get more of that. It looks like the lighter colors are the front, whereas the darker color is the back or the backpedals. So you can play around with that as well with light and shut up. I'm going to do one more wet on wet, and then I encourage you to practice this as many times as you like. Before we worked together on the final piece. For the final piece, we will be doing quite a few different colors. Make sure you show this to you will be doing quite a few different colors. Um, I think in the final piece will be doing some wet on wet as well as I think this was wet on dry, so we'll be doing. Both versions will be playing around with the stem colors. So as you practice your tulip shapes, think about that. You can try different colors on your practice sheet if you want to. You can try mixing different colors. I'll do that real quickly. One last went on. What? And I will mix. Um, this can't color with the orange color. Um, so let me go ahead and make sure those air wet and ready for me. Okay? And I am going, Teoh, lay down and outer, petal, make sure you can see this. Yep. Point to lay down an outer pedal of water and pick up my orange. And my paint might mix them together over in the top of the lid and then drop that in and I might want to mix and some oranges. I'm gonna go back and pick up just like orange and add it as well. And you can add where you'd like to on the wet seeing, Um, when you do what? On wet? How it blends together. So that's an outer petal. I think I'm gonna do another one. This is gonna be a little bit of a taller tool up. Oh, and do you see that? I touched the water over into what was already wet, and it bloomed into that water. I think that's really fun to do. We haven't done that in a while in any of my classes. Um, but you can definitely play around with that, and then you get that lighter color. I'm gonna pick up the pink this time, and I'm going to come add some of the pink to the right side of that. And then for the middle, I'm gonna blend them together, and I'm gonna do that. Okay? I might add a little bit here, too. And so that went on. What? Tulip? He's kind of wide again. Um, I think that's because I'm doing this frightening. Outstanding, So that I don't impede your view. I'm standing right now, whereas earlier when I did thes I was sitting. So that might be why either a little more precise and this is a little more compact. Um, anyway, so this is a wet on wet version with two colors that I mixed together. Please feel free to explore that. Try different color variations. Um, try that with your pedals. Try that with your leaves and I will see you in the next video where we will put together five individual tulips on. They're all just a bit different from one another. 5. Class Project: Tulip Painting: Okay, so let's pay our last our final piece together. You've practiced your chill up shapes. You've practiced different color combinations. So for this one, I think what's important to remember is that there's five. I'm gonna try to put the middle one kind of in the middle for the overall composition of the painting, Um, and give them kind of evenly spaced. You'll see. This one is tall, short, tallest, shorter, taller, just for some height variation that gives you a visual interest. They're all kind of pointing in different directions. You don't have to do exactly what I did, but that is, um, something I recommend is keeping that variation in their heights just for visual interest. You could do them all the exact same heightened length, but it'll kind of it will feel a little bit. Um, I don't think boring, but it will be less interesting visual visually for the viewer. So let's get started. I am going to start with this lovely pink peach hearing to look, um, keep in mind again, you don't have to do exactly the way I did mine. Um, their shapes and their sizes, you can play around with it but let's get started and do this. 1st 1 I'm gonna start with the pedals. Um, I think I'm gonna just do wet on wet for this one. Similar to, uh, the very last example I showed you in the last video blending two colors together. Um, so we are going to do you wet on wet. I'm gonna drop that in the side. I think I want to drop it in that side as well. I want to do another pedal to the side. So I'm gonna let that come this way. And I myself don't expect this tool up to look the same as my example to look, just because from time to time from, um, different, even the way you sit can affect the way that you paint. Um, so I'm gonna add that, and I think that's kind of fun. You can only tell I've got this one's a lot lighter than this one because I'm not putting in as much color. I definitely can see I'll add a little bit, but it's not the end all be all. Please feel free to do it the way that you would like to do it. So I'm mixing my pink in my coral again, and I'm gonna do one more. Maybe on this outer piece, and I'm thinking about now the pedals that will be behind it. So if this was the front of the flower, um, facing toward me, I'm thinking about the back of the flower and adding in pedals for that how I want that to be shaped. But I'm not necessarily I'm not doing wet on wet for these. I'm just going in with my brush and doing what on, uh, Dr. So I'm gonna pick up a little more paint. I think that I want to add some color to this pedal, so I'm going to do that. Great. And I'm going to attach the step to it now. So for the greens and my example painting. I did a few different colors. I used this green. Um, I used this darker green. I used some yellows and almost oranges even to mix in. So what I recommend doing is picking those colors up and putting them, um, over in the mixing wells so that you can mix those together. I leave some space country to see if you can see Let's see, You can see what I'm doing that is this perfect. What I'm doing here is bringing these colors over to the mixing well so that I can practice that, um, or show you that. And what I do is for this one. I just felt like this Seiji green color, plus some yellows would be nice. So I pick up that green, I bring it over here, pick up some of that yellow, and I end up with I ended up whatever's on my paintbrush. Please don't feel like you have to have the exact same color. I'm sure this is not gonna be the same as what I did last time. It's not. It's much darker. Um, but you're gonna bring that down and over and I tell Lighten it up. I might go back and get some more of this yellow and bring over here. And while this is wet, I am gonna drop some yellow in to kind of give it a little bit of lightness, and I'm gonna pull out my leaf to the left, and that is a very yellow week. So I'm going to make sure you come back with my green and add that in. So this 10 my goodness. Y'all actually don't care. First of all, I used way too dark of a green. Um, let's see, Put in some light green and see if I can make this any better or if I have totally made it a funny green color. You know what? I'm OK with it. They're lightened it a little bit, and, um, as it dries, it'll be It'll be a little bit darker than this one. I used a darker green. I think I probably used this screen on this example this kind of lean meat lining green. Whereas this when I used to that all of dark olive green. Um, that's okay. I'm gonna do what I often do when that happens, I'm gonna go in with a clean brush and pick up some of that pigment. You wipe it off and we're good. I can always amend later with that lighter green and go back over it and try to blend it in . You're seeing the real time. Oops. That sometimes happens. Okay. We're gonna let that one day. Now I'm gonna come over and I'm gonna think about my spacing. I've got five that I want. So I'm gonna do my yellow one right about here. Slightly shorter than the pink. So I'm gonna go over and I'm gonna pick up this yellow, and I'm gonna I'm actually gonna bring it and drop it over in the well so that it doesn't get that I don't want to get the green tinge and there, So I'm gonna do that. And I actually think I'm gonna pick up some of this orange on Atwater to it, get it on my brush and come over and kind of scrape it off. Drop it in this. Well, I know I can do both, um, as I do this. So I think I'm going to go ahead and put the color on my brush and dio kind of a wet on dry followed by wet on wet. So I'm going to do a unity my center pedal first on this one. I have done my center pedal. I did two of the sea curves together. Got a little white highlight in the middle. I like that. Um I'm gonna go back and pick up my orangey color, and I am going to make the outer one and I'm gonna let it touch that middle one. So they kind of blend together, Um, again, I'm gonna pick up more orange and kind of drop it in just cause I want to. And I'm gonna do another pedal over on the left. And if this is the front again, if this is the front of my tool up, I want to think about the back leaves now filling in those backpedals. Um, so I put an orange yellow on my, um, brush. And I am being careful not to touch what I've already painted, so I can keep those light highlights, um, in between. And I am going to build in those backpedals, and I think I'm gonna bring it back down a little bit too on the side. So you don't. You see this one's bigger than this one. Waas. That is OK, this one, actually, this slowly. This leaf in stem is a darker green. Um, I probably did this, um, Teela screen with an olive green, um, and mix it together, enlightened it up. I'll try. I'll see. I should have written down my color recipes when I did this, um, earlier so that I could share with you the exact colors I use. But that's part of the fun of watercolors. Um, exploring and letting it do its thing and keeping in mind when you drop that green. And there you kind of get that base kind almost like the base that holds the tulip up a middle blend in with what was already there. So the colors are pretty similar between my example and my, um, example piece here. I'm gonna do a leaf to the right. I think that it also doesn't necessarily help that I'm talking so much. Why do it? So I am thinking more about what I'm telling you. The necessarily what I'm painting. So forgive me for that. I'm gonna keep dropping in color. And now I'm gonna do this. Mint middle. Um, Magenta Burgundy. Rose. I'm gonna get this burgundy brown, Mahdi wine color. Gonna drop it over on my, um, palette on. I might mix in or drop in later. Um, some of this fuchsia color to give it just a little bit of that. That color, um, is kind of an underlying theme between three pink ones. Um, but first we'll start with that Magenta line. When you do my center pedal, I'm keeping in mind that this one is a little bit taller than the previous ones, since it's the middle. I wanted to highlight that. So I'm doing my middle peace. I'm going to do my right pedal and this one, rather than curving in like the last two, I like the idea of the pedal could've flipping out, proving to the side. So keeping that in mind while I'm painting it, I'm going to start there at the top of it and then finish off the bottom and it's really light compared to the previous one. So I'm going to take politically in Russian, soak up a little bit of this extra water when the brush has been dried off. It kind of acts as a I want to say, an eraser but a soaker upper. It'll soak up some of your access, so that way I can go in, pick up more color, it's and drop it in, and it'll blend nicely. And I want to think about again. The back pedals strong those careful a painting those and carefully perfect time again. I think that I do wanna pick up a little bit of the pink fuchsia may have Mix it just a little bit with that burgundy and come in and drop it in a little bit. Just Teoh, give it a little more color, you know, Wonderful. And this one. So the way that I made this stem and leaf was a little bit different. I actually I did a little bit of what? On what? What I did was clean off my brush clean, wet brush, and I actually I just drew the stem with the water, so I brought it down, Right, So it's got that, um, color to it. And I went and I picked up kind of this orangey color and I dropped it in the top. I got the yellow color. I dropped it in. They brought all that down, and then once I had that done, I went and got my greens. I just think I'm honestly and mixed together. Just variation greens. I'm just gonna do that now, see what I end up with. And I brought in just a little bit at the bottom, separate from the L and then made the leaf, and then I actually brought it up through the stem so that we could get, um, reading. Because in nature, it's not always one color. It is a blend of colors and so that way. Okay, it ended up being a lot Kirby Earth and plant example. But the principle still stands. That I was doing was that went on. What technique? I dragged the wet down in the step up the stem. And then I added yellow, added a little bit of a golden yellow. And then at the bottom, I came in and brought that green and and then traced it up to mix in with the gold in the yellow. And so that'll dry the and look really nice. Finally, we're gonna do our last two. Um, this one is like the lovely light purple here. I think I really just used mainly this purple color mixed in a little bit of this. Why Lackey Blue, Actually an oxymoron. Lilac blue. Lilac is purple, maybe periwinkle. We'll call that periwinkle. Here we go. Um, so I mixed that together to get this purple color like purple, and this one's gonna be shorter than the middle. It'll be similar to this yellow rose, so I'm gonna do. And I wanted this one to kind of have this earlier. I was thinking I wanted to have this shape to its I'll see if I could do that again. Now just build up my pedals for this one. I did more wet on dry. It's a little bit darker than my previous one. That's okay and took this, um stem. I think I really just didn't Maybe one color, really Not going into too much blending with that. And the leaf on this one is really big. And it's kind of one of those leaves. If you look at tulips, that curves as it goes. So I put that dark color in to kind of give that contour. I'm so glad I didn't make that. And the way I did it was by pushing down, lifting up, pushing down, lifting up. So it's one continuous leave and you're doing two rounds of that up down, up, down motion where you're thin with the tip and then think with the belly. And I brought this in like that a little. And so this stem and leaf for quite lighter than that Waas. But that's OK now lease come in and answer color since I've got that one. And now our very last one. This one I did wet on wet. And so I started with the centre pedal keeps drops of water. Block that up. Um, I started with the center pedal a little bit taller than the purple. So I'm gonna do this center pedal. And what I actually did for this one was I think I just did this one pink color here at first and wet on wet. So it's wet. I dropped in this pink on the side and pink on this side. I'm just gonna work that around the edge of a little bit. Um and so I did it. But that highlight in the middle and I didn't help defuse that. If I don't like how hard with Linus Aiken diffuse that. Yeah, you like that? Better. And so I'm going to this time, pick up a little bit of the darker magenta with that pink and bring my outer petal gonna do my inner back pedals. Perfect. And this one, I just had a single step. This one I did not add a leaf to you can It could like to um I just chose not to. I just wanted to be kind of simple in the final piece. So that is it. Friends, that is painting a tool of arrangement. I hope that you enjoyed it. I hope that this final piece explained a little bit more even on the techniques beyond what we just practice both from blending the colors and the wet on wet and picking up color from your pedals. If you have too much color using a clean brush to pull some of that color out, Um, if you have any questions, please let me know. I do these classes for you and you are number one. In my mind. I want to explain things as well as I can. I'm so if there's something that I have not explained well, please tell me and I will be so glad to help you. Thanks.