Watercolor with Me: Cherry Blossoms | Jessica Sanders | Skillshare

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Watercolor with Me: Cherry Blossoms

teacher avatar Jessica Sanders, Artist | Designer

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

Watch this class and thousands more

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

Lessons in This Class

19 Lessons (2h 37m)
    • 1. Welcome!

    • 2. Supplies

    • 3. Pep Talk :)

    • 4. Element of Art - Form

    • 5. Get started Tracing the Reference

    • 6. Continue Tracing - Blossoms 2 & 3

    • 7. Refining the Traced Drawing

    • 8. Choose Paper & Image Transfer Setup

    • 9. Transfer Your Drawing to Watercolor Paper

    • 10. Erasing And Choosing Colors

    • 11. Painting the Background - Wet in Wet Technique

    • 12. Making Changes to the Background

    • 13. Cherry Blossoms 1St Layer

    • 14. Creating Contrast with Negative Shape Painting

    • 15. Cherry Blossoms 2nd Layer

    • 16. Adding White over Watercolor

    • 17. Adding Stamens And Splatter

    • 18. Final Touches

    • 19. Project and Thank you!

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About This Class

Let's paint pretty-in-pink cherry blossoms, also known as sakura!  

In this class for beginner to intermediate painters, we will create a painting from start to finish.  Beginning with a reference photo, we will trace, simplify, transfer, and paint a lovely watercolor painting. 

We will relax, have fun, and almost like magic, we will grow our watercolor skills!

Skills and techniques in this class:

  • tracing to simplify a photo
  • transferring a drawing with carbon paper
  • wet on wet watercolor
  • wet on dry watercolor
  • negative shape painting
  • applying the Element of Art: Form

Meet Your Teacher

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Jessica Sanders

Artist | Designer


Jessica Sanders

Artist, Instructor, Designer

Hiya, beautiful skillsharer,

I hope all is well with you!

I tried out a fun technique last week, and, well...

I got super excited about it!! It was so fun, I just had to share it.  :-D 

I was so excited, that I turned it into a wonderful, relaxing, playful class.  

Watercolor with Me: Lovely Leaf Prints & Negative Shape Painting

Image: Leaf print example painting by Jessica Sanders

Let's make lovely leaf prints with watercolor together! 

We'll play with watercolor, and practice negative shape painting - a very important skill in watercolor painting.

In this class for beginners, or anyone who... See full profile

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1. Welcome!: Let's pay Pretty in Pink cherry blossoms. Hello everyone. Jessica Sanders here of color MY creative art.com. Welcome to my lesson. I am super excited to be here with you today. Welcome to this watercolour paint along class. I invite you to watercolor with me and paint some lovely cherry blossoms. Now this is a rather in-depth class, and I think you'll find it helpful, but I believe also you will find it relaxing and enjoyable as we sketch, as we transfer sketch and as we paint our lovely watercolor painting of these cherry blossoms. In this class, we're going to be covering several skills. So we're first going to talk about tracing and drawing. Then we're going to talk about transferring the drawing. And then we'll talk about painting and we'll talk about when and what watercolor and wet and dry water color and how, how you can use both of them will be letting some of that colour flow because that's so much fun. And of course there'll be lots of splattering and lots of fun. Goodness along the way. Lots of water colored joy. Can't wait to get started with you. 2. Supplies: So for this class you're going to need basic watercolor supplies and a few more things. So let's start out with the watercolor supplies and then I'll talk to you about the other though you will need water color paints. You don't have to have a palate that has this many colors, but this is the Mission Gold. I recommend this for my Beginners because you get a lot of paint for a fairly reasonable price and will last you a very long time. Because you can see my palette is nice and dirty because I use it a lot. And they're great paints. So you need watercolour paint. You'll need a cloth. I use two jars for water. You will also need a variety of watercolor brushes. In particular, in this class, I do use a flat brush quite a bit because of some negative shaped painting that we'll be doing. But you can do it with the round brushes is just a little bit more challenging. But if you have a flat brush, it'll go a little bit more smoothly for you. But you will also need a variety of round brushes from small to large. You will need a pencil. I use a hard lead HB pencil. That's personal choice and are normal. Number two, pencil. Whenever pencil you have will work, you will need possibly an eraser if you want to erase some of your pencil lines, and you will need a white paint pin or whitewash, whichever one works for you, you'll need a heavy duty watercolor paper. This is 140 pound or 300 gs m, cold pressed, so it has texture and you can see it's fairly stiff and heavy way. We'll be using a lot of water in our water colored techniques. So having a heavyweight paper that's made for watercolor is important. You'll also could use some tape. It can be like painter's tape or masking tape, in addition to water color supplies. In this class, I'm teaching you how to trace and transfer a drawing for your watercolour paint. If you're going to do that section of this class, you will need tracing paper, which is just a really light thin paper that you can see through. So it will help you in tracing your drawing and you will also need carbon pesticide to trace. You're drawing onto watercolor paper. If you don't have carbon paper, you can do certain things such as Hold your drawing and your watercolour paper up to a window. And you can trace that way because the light will come through and you'll be able to see what your tracing. You could use light tables, but in this class I'm showing you how to use carbon paper to do that, transferring your drawing to watercolour paper. And I'm also going to provide you with this photograph, which is the one that I use for the tracing and transferring along with the photo. I'm also going to provide you with my sketch so that if you'd like to print it out and use this as a reference, you can certainly do so now this is the trace of the photo. So if you have the photo and tracing paper, you'll be able to do your own tracing. But this is how it looks when I traced it, so I'll provide that for you as well. Okay, let's get started with this class. 3. Pep Talk :): So want to encourage you to keep in mind that this class is not about painting a perfect picture. This class is about learning and growing and improving your watercolor skills. And so with that in mind, we're going to be specifically working on wet and wet watercolor and wet and dry watercolor. And we're also specifically working on learning about our subject matter that we're planning on painting. And maybe simplify that a little bit. But most of all we're just going to relax and paint and try and keep it loose, which you'll see in the videos. I did get tight when I was working on this, I did get a little tense step and focused on details and I had this shift, my mode of working in order to loosen up and start experiencing that freedom that you get when you paint. So I tend to be a loose painter. And if I get too tight, it starts making me tenths, right? So I want to keep my paintings loose and relaxed and fun. And so you'll see through this process of this painting that I actually had to literally switch modes, switch techniques so that I could get loosened up again and really get into that playful spirit of water color. I just love watercolor. It's a magical painting medium. It does so much beautiful stuff all on its own. And that's one thing I love about it. But it's also one thing that, you know, trying to challenges people. And so I'm trying to keep everything simplified. And I take you every step of the way. Most of this class is a real time painting, although for repetitive parts, I've sped it up a little bit. So I just want you to keep in mind as you're painting along with me, that this is for fun and for relaxation. And as you enjoy the painting process and you're going to learn naturally, you're going to grow your water coast skills naturally and an enjoyable way. So let's get started. 4. Element of Art - Form: The element of R we're focusing on for this class is formed. So let's chat about form. Form is a three dimensional shape. It takes up 3D space. So what that means is shapes, when they become three-dimensional, become a forms. So for example, if you have a square and a rectangle, then it becomes a cube or a rectangular prism when we add the third dimension to it. And it's a little drawings, not the best, but I think you understand. So a square can become a cube, a circle can become a sphere. And in order to add dimension to a circle, we're just going to have to add shading, right? To give it that depth. So form a three-dimensional shape has length, width, and height or depth. So we have length. We have this measurement as well, and we have height, right? Link, width, height, width, and depth. Let's see what's another one i triangle can become a pyramid. I'll draw this over here. A little bit more complex. So let's say we have a triangle. Here. Was a pyramid. Back here somewhere as another line, right? So in the back of this one is our other line there. So it's a 3D shape. It's a shape that has length, width, and height. It takes up space in volume. So it's not just a flat shape. So for example, you might consider a thin piece of paper, a shape, right? You might consider this thin piece of papers shape, but this eraser would be a form because it's the same shape as this, but it has the added height. So just a way of think forms can be geometric or organic. So these are geometric shapes becoming geometric form in our class, we'll be working with flowers. And those have form and they're more of an organic 40 in order to do that in our class. So let's say we have the petal of a flower, right? Is sort of that oval shape. That's a flat shape. But in our class, I'll write that there. This is an organic shape. Right in our class will take that same kind of shape. And we'll add some lights and shadow adds some shadows to it, and that will give it form. So let's say it has a shadow here, for example. And just changing up the light and shadow, adding, adds dimension to it. So we haven't talked about value, you haven't talked about value. You have that value is a key element in taking a shape and making it a form. So that's going to be playing in, but we're not going to talk about that too much in this lesson. More we're just going to be applying, taking those shapes, those organic shapes and making them have more form, have more depth so that they have three, they look more three-dimensional and they do flat. Now there are common forms in geometric forms. And nows r cube, sphere, cylinder, cone, pyramid, and rectangular prism. Those are ones you see all the time. And they're the basic forms and their use in math, and they're used in art, right? So just keep in mind. The main thing is to keep in mind it's three d. Three d, right? It's like you go see a movie in 3D. And if they're like you're there, you're in it, that kind of thing. That's the difference between a shape and a form. A shape is flat of form is three-dimensional. And these are basic elements because they're used in all of art, right? We're talking about the elements of art, the basic building blocks of art. So for this class was focusing on form. 5. Get started Tracing the Reference: Before I trace my drawing onto my watercolor paper, I decided I wanted to get to know my drawing, my subject a little bit better and some working directly from the reference photo. I thought a cool way to do that would be to use transfer paper so that I can look at the outlines. Now there are a lot of ways you can do this. You could use something like procreate photo editing software to get the lines from it in that sort of thing. But I thought the tracing paper idea would be fun and would give me a drawing to work from. And so that's what I'm going to do for you. Now. I'm probably going to speed this video up. So because the process will be a little bit long and kind of repetitive, but I'll come back and talk to you about the shapes and things as I go. So first step is to tape with a low tack tape. This happens to be painter's tape. You could use masking tape. Was she taped whatever. I'm gonna take my tracing paper to my image. In this case, my images the size that I want. I've used my printer to blow a small section of a larger photo. I'm just going to take my paper and I tracing paper to the top. And doesn't, you know, we're not looking for perfection here and we're just going to, just going to tape it on MER. Now don't want to cover up this part because I may want to draw all the way and cover that branch and just folding my take over there on the back. Now you could just take both of these to a board. You could clip them together with paperclip. Anything like that would be fine. So now I know that my tracing paper is not going to move. If if it does, I can just fold it back into place. Now, a couple of things this does. For one thing, it removes some of the details that I have in the photo. So if you look at the photo and then you look back through the tracing paper because of the frost sameness of the tracing paper. I don't have as many details. And that's actually a good thing because it lets the shapes stand out to me. This is a great practice step for you to do. I really encourage you to try this and see if you can tell a difference in how you're noticing the shapes and forms of your painting or your thing, the subject that you're painting. I'm going to use a Sharpie marker with a fairly decent sized tip to make it easy for you to see. But you can also use pencil on tracing paper. Those will both work. And I'm just going to start top right corner. It doesn't really matter. But that's just where I'm going to start and I'm going to outline along the edges my shapes that I see, in this case this flower. Now, I don't need all the tiny details here. But I am going to include some, like there's a little circle there. And that will help me when I do my painting. I like how that flower has little tip out there. I can see lightly that this comes from inside there. And now I have to have a really interesting shape there. And so just a little more sketchy marks and not just follow along the edge. There we go. Now, if there's a shape there that I don't care about, I may just ignore it. This kinda goes like this and in and around. And I could continue follow this edge, but I think I'll come back to that. Here's another little thing. Now, because I'm using this wide tipped marker, they, the shapes and things are going to be a little bit larger than say, real life, right? Or if I use a fine point pencil. Alright, so now I have this flower shape. I can see there's a wine and here I think I will also use my pencil for some of this though, just because I want to show you. I could use a fine tip like here and here, these little I am not up and my flower anatomy, so I'm not sure what to call them. And I don't actually have to show these in my drawing. Because I know when I do my painting I'm probably not going to be as precise. But if you wanted to say use masking fluids and cover up some white areas or something like that, then you will need this kind of thing. So this is actually a thing that goes in there. Here's some more here in the center. And as you're drawing and sketching, and whether you're drawing in scratchy sketching. Sketching, is that a word? Whether you are sketching or whether you are doing this tracing activity, you'll begin to see more and more details as you go. So just keep that in mind. Things are going to show up that you didn't notice before and that's good. That's what you want. Here's a, an interesting shadow, pink area. And we still have, and I press the stem, I can see these lines in here, which is going to juice. Draw these, I guess they're stamens and pistols and you know, that kind of thing. Lowery parts. And it gives me an idea of the flow. Now if I wanted to, I could just paint one flower from this, right? I wouldn't have to paint the entire thing. I can pay a section, paint the part that appeals to me, most kinda thing like that. So I'm going to follow that edge there. I think that's an interesting shape. When I press this down, I see an edge back here. So there is an edge along that area. And in here, Here's a shadow. And here is the shadow area. Now why am I tracing the shadow areas? Will the shadow areas are going to give us form and depth. And then there are also these little reflect, reflections, not reflections but shadows of the stamens, which I found very interesting on the pedal themselves. So this is a shadow. And I think I'll color that in a little bit to indicate that that's actually shadow. So this is my reference drawing, so it's going to help me see. Now here is an edge of that pedal that's turned up. So that's pretty cool. I see some shadow here. I'm not exactly sure what it is, but it's there. In this area. There's a big it's a really light shadow, but it's a big shadow here. Actually goes that way. Now I can erase if I need to or want to, but I just don't feel the need right now. Okay. This is a pretty dark area. Look, here's a little light area in there. And I'm putting some wines on my sketch or my drawing here to indicate where the shadows are and may or may not do that on my watercolor paper. I see shadow. This is pretty much all in shadow. And there's some shape there. Don't know what that is. I'm not worrying too much about the light shadows. I know they're going to be some shadows in the petals, so I don't have to worry about, okay, let's switch back to the marker. 6. Continue Tracing - Blossoms 2 & 3: Switch back to the marker and I see a shape here. And then I can also put this shape here. And I can just go right around anything that overlaps to catch the shape of this pedal. Right? There you go. There's that. And since I'm down here, I'll just continue what I'm doing with this flower. So you can see it doesn't take very long to do like the main outlines when they're very distinct. Like this one is. You can follow along really easy. But if you get to something like we were doing the center where it's more difficult to see. Well, it takes a little bit longer. So I see this shape here. And when you're painting with watercolors, you may want to paint that as a negative shape around the pedal. It is in fact a negative shape, but you may be paying the positive part of it. If you're using white for your flower petals, leaving the white of the paper, for example. Then you would be negative shaped painting this shape. And I'm just gonna go ahead and put this stem in. And please remember, you can leave out details to simplify. Your painting. And drawing process. Says some little strain chump there. Don't know what that is and I don't know if I will include it in my painting, but there it is in my drawing. And let me just go ahead and run that pedals. So now I have a main stem in there. Okay, now back to this flower. So this very distinct edge here. And like I said, it doesn't have to be perfect because we're just doing the idea. Right? There's a lot going on there. I'm going to just stop with this marker and leave that space. I do see a negative shape in here. And I want to you to do and then go around that, around that. Now see it's more difficult to see. He has the perfect opportunity to create soft edge that would be in this area. See another negative shape here. I'm just going to, I'm going to simplify this because I see like there's something going on there, but I don't need that part that can just be simplified. And then peddled connects, connects, they're, now I'll go to my pencil. And the pencil may not show up on the dark with this background. But when I lift this, you can see the pencil marks. Okay. So another one, another one. There's the stem here. There's a negative shape right here. Made by the stem, are made by some dark area in the flower. So another one, another one. Now you can be more precise with these. Remember, that's okay. I most likely and going to splatter when I do the painting part. So I especially, I'm not worried about being too precise, but I do want to show these. I also wanna say in some of these shapes you can see a darker area. I'm not concerned about that level of detail right now, but I'm now aware of it because I've seen it. And so when I do my painting, I can kinda keep that in mind. Let's do this. Here is a shadow and it has a hard edge. Now I'll be honest with you when I paint and it will probably be hard for me to leave that as a hard edge. And that's just going to be part of the process, right? This is a shadow from this plant that's above it. So when we're thinking about light and shadow and form, this is casting a shadow on this flower, which is, I think, pretty cool. The other thing is look at the shadows here. I love that, that you can see the shadows. So I'm just going to kinda color those in as if make them more solid. And that'll help me be able to tell that their shadows and not actual. I'm coloring in the little circles. So that indicates to me later that I'm doing these shadows, not these statements, epistles that had the little pink, yellow on the end. So here's a shadow shape. Here's a shadow area. Here's another shape. And sort of shadow area that goes this way. And then I haven't done this edge. I'm doing things as I see them. So that may be a little bit like not quite make sense to you because it's just the way I'm seeing it, but you'll do it the way you see it and you do it yourself. Okay? I actually really love this process. Like it's a preliminary process, I know, but it's really fun to begin to notice things that you didn't notice before, right? As you're drawing. All right. I've got this one to do. Now. I'm not actually going to include these in the background as light or this one has main as any kind of focal point. They're going to be in the wet and wet background. Just a hint hint of of line and in color. So I'm not too worried about those. So I will do this in pencil and do sort of this shape C, Very, very sketchy. It does have these strong there. So that's just that idea that there is a flower back there. Let me go ahead and do one here. And this is, like I said, just going to be e drops of color basically. In the wet and wet background. This is the other flower and the background are right, I like that. Okay, let's go on with this flower right here. So we're gonna have three flowers. Now I could, after doing this whole drawing, I could like cut these apart and shifting is Ram. I could do all kinds of things that change up mine, my painting. So you keep that in mind just because something is placed at a certain place in your original drawing, I see this really strong negative shape there. Doesn't mean it has to be placed that way in your painting. Another strong negative shapes has some flour details, so I'll just leave it and go into your right over that shape that I Pencil because one is not as important. So here's a negative shape in here. May simplify that. I'm not going to worry about that one there that's come back with my pencil. This pedal, this pedal in this pedal. And this one all have this really light line. Show you through the like here, this wide edge and then a shadow underneath. So I wanna make sure I, that's, that's important to the form. So I wanna make sure in showing that my drawing. So that pretty much completes this outline. So I find this very interesting that in this one in particular, it's facing us, it's facing the viewer. These are facing different angles, right? This one's facing the viewer head on, is facing, you, head on. And you can see this statements, right with a little pollen in the shadows all over the same pedal. So that's really interesting I think. And also now I know this distinction I made when I was doing the shadow. It will be very helpful here to determine which one shadow and which one is the actual. Right. So when I finish this little shadow coloring that one in. Now let's see how our drawing loops without this. 7. Refining the Traced Drawing: Now let's see how our drawing loops without this paper behind it. Okay, so now you can see we have a fairly detailed drawing and it is easier to see the shapes and things then when we look at this entire reference photo, right? So that's one way you can sort of figure out how, how your painting will work. Planning can be a very important part of watercolor, especially if you want to paint a certain scene or something like that. I tend to be a little bit more spontaneous most of the time, but there are times when I want to paint a certain subject. So this can be applied in say, something like a portrait or something more specific or more realistic. Now when I actually paint this, I'm really just looking. I'm going to be looking for shapes and for light and shadow that give me forums and all of these little stamens and things. And I'm not too concerned about where those will be when I paint them. But the interesting thing about that again for me is that they put, cast the shadows on the flower petals. And I find that like really cool. Now this part is so confusing that I will definitely be just simplifying that in the, in the actual painting. So I will not be including these lines at all, but I have them there. So this is one way to get an idea of the lights and shadows and shapes and forms of your reference photo. So this is one way to get to know your reference photo a little bit better when you can trace it with tracing paper. And it will help you see things you didn't see before, such as these little edges on the pedals that I didn't really notice before. I didn't really notice some of the shapes in here. He's negative shapes. I saw some of the shadows on this one, but I didn't notice them on this as much, but I could see them there. And then the other thing it really helps you to see are the values as far as lights and darks. So you want to have, you know, white from y to lightest lights and darkest darks. And it gives you an idea of that. Now this is not fully filled in, but I know that this is all dark. Other than the stamens there. This is all dark within that area. I didn't mark it on the photo also dark here in the center, completely different color. And it will also help you to simplify your subject. So like this thing, that doesn't quite make sense for a painting. I mean, it may make sense in real life, it's a bud or something like that. But for painting purposes it doesn't really make sense to have this shape in there. So just simplifying that into, you know, our stem. Make sure it's going in the right direction here. Is going to help simplify your painting process as well. Now I can see where there's some colors and stuff in the background. And then I can also take this and, you know, maybe I want to make my composition go across instead of, you know, the same orientation as the photo. That's maybe I wanted to go down. Like what does it look like if it's upside down or, you know, at a different angle. So just give you some ideas and then you can use this to draw onto your watercolour paper. So let's move on to the next lesson. 8. Choose Paper & Image Transfer Setup: The next step will be this side, what size paper you want to use and to trace your drawing. And so watercolour paper comes in different sizes, large sheets, and you can do any size you like. So I have a smaller piece of paper. I could just try it on here and see how I think it looks and I think it would be okay on this size page, but I would tilt it maybe a little bit. I'm thinking of my rule of thirds as I'm doing this like 1 third, 1 third, 1 third, 1 third to pull my composition together. Now it wouldn't show all the flowers. I'm perfectly okay with that. I think that makes paintings even more interesting. And then I have a larger sheet. And of course, you could turn it either way. So you put it this way. And that would be a nice composition. And you would have all of your flowers on the page. That could, that could work right now. But this flower is the focal point and the top quadrant there are top 1 third area. And then the other thing is you could turn it vertically, which was considering doing. And then that gives me more space at the top and bottom. Which also could be interesting. So it just depends like this. Vertically doesn't show like all the edges, all the flowers. And horizontally. And it does, it adds a lot of way that's Leiden area over here. And I was originally leaning towards this vertical. And of course you could do both. You could do one of each and create a series. I mean, the skies, the left, right. So remember you can always turn this like I could turn this. Have a more look at it in different ways. So this gives you a chance to play around with it a little bit. Having this transparent kind of sketch, right? And see what you like to see which side of the paper that's the so correct side to have more texture than the backside. And I'm kind of surprised, but I actually really like this a lot. And so I think I'll start with this as a composition. And I'm just going to use carbon paper to trace it. So you'll have your carbon paper and then you'll put your tracing paper over the top of it all this is on top of your watercolour paper. But now look, there's a problem because you can't see through the carbon paper, right? So what you need to do then is first tape your sketch, you're tracing. First off tape that to your watercolour paper where you want, where and how you want your composition to be laid out. So I think I want to be a little bit more that way. Use that low tack tape we talked about earlier. And tape it so that you can lift it like it's a flap. So I'm just going to lay this tape here. And full that undermine watercolor paper, right? And I'll do that on both sides. That way doesn't move off of where I want it on my watercolor paper. So this is a little different process than I normally use. But like I said before, I do use this for specific things. If I want to get a specific image and something like say a portrait, especially this comes in handy. But if you need to practice on other things, not just portraits because horses are pretty tricky. So Flowers gives you a little bit more sort of wiggle room for your practice, right? And it doesn't have to look like a certain person. Okay. So next, the tracing paper between and it doesn't even matter if you're tracing paper moves. And you can use tracing paper more than ones, you just wanna make sure it covers up. We're where you're putting. Now because I used pencil lines, this is kind of disappearing a little bit on this. So what I can do is actually for the, another piece of paper here. And then I'll be able to see all of them. All look my drawing now this is very thin printer paper and carbon paper. And if I put this piece of paper here, I'm going to have to press a little bit harder with my pencil or whatever tool that I'm using to do the tracing. Now we're all set up to do our tracing. 9. Transfer Your Drawing to Watercolor Paper: Okay. As I say, I'm all set up to do my my Tracing. I'm going to use a hard lead pencil. This is an HB pencil. The main thing is that you have a pretty sharp point and it may be a little bit hard to see where you've already drawn your lines, but I don't want to have large lines on my watercolor paper. So I'm going to use this hard lead pencil. And the way I'll keep track of what I have done is I'll start in this top corner and I'll kind of, as I did with the tracing the flowers, I'll just work with one flower at a time and work my way around. And if I miss a few things or whatever I'm like I said before, I'm not that concerned about it. The main thing I want to get are the shapes of the petals, the shapes of some shadows. And these other little, Little Shadows we have. And some of the negative shapes like we have here. So I don't, I'm not concerned about doing every single line that I traced in the first place. I'm going to continue to simplify it, but I want to get the main shapes. Ok, so that's the idea. And I said I'm starting here. I actually, I'm going to start with the stem and I'm going to curve it a little bit. Because I like more organic shapes. And I think that it will work that way. And I can change it up. There's a triangle shape. I can see that because I'm on this marker. But when I get to the pencil part, not so much. Okay, so now I have those stem basically done. Ok, I start with this flower. And I'm just going to press down and lightly, lightly as in loosely follow that outline that I created before. And as I said, since I'm on the marker, I can see where I'm putting my pencil lines and I'll do that first. That's the easiest part of the tracing. Let me go ahead and do this stem. And so I will continue I'll continue with this outline and then I'll come back to you when we move on to the next section. Okay, now I want to make sure I get in these big shapes of shadow. So I see this edge here. This is the flipped up pedal. Remember, this was a strong shadow in here and a white area. So I will I don't know if this was going to show up very, very much on the tracing paper, but I'll just do it anyway. And we'll see, let me trace that line, that interesting line, these big shadows. Then actually you may want to say it out loud like I'm doing as you're doing it because and also help you remember. Okay, I'm going to lift this now and check it. Remember I have everything in place, so nothing is going to give to like not be done. So because I pretty depressing quite hard, it's working quite well. You can even see the shadow marks, so that is good at is good. Ok, let's continue. The main thing is to have this page where it's supposed to be. So so I have a pretty strong line, I have a pretty strong outline. And I may actually end up erasing some of that when I'm, when I'm ready to paint. Ok, so let's continue. I'm going to put some of these shapes in. Some of these that I think are more important. But mostly they're going to be dropped. I'll just put one line because it's going to show up and these are white in the drawing, right in the photo. So I need to keep that in mind that I don't want to fill in those areas that are white. So that's that's pretty much it. I'll go ahead and do this little shadow because very interesting. Okay, and that's going to be mostly and that really lightly. Okay? So I'm just going to know now, I'm trying to simplify. I don't want to do too much. That's just to me, that's important. So I'll take another quick peek. Everything's still in place. We are in good shape and we have started up a flower. Now, I'm just going to move on. Notice this is a quicker process than the first drawing because I'm simplifying and because I already have my shapes there, I'm not looking to find them. I already have them. So like see this at shape is there and I can just go right over. That's actually another edge. Right around. Skip that because I know this is one of those white pieces continuing here. And I can always adjust my traced drawing as I go. I'm not one to worry about everything being really perfect. Yeah. You probably don't know that about me by now. I doubt you know that. So you are new to my glasses. You may not know that about EBIT. You're going to hear me say it all the time. I am not worried about perfection. Perfection is not not in real life. Okay? So a little wavy line. I'm even going like a little wacko there just because I love loosened sketchy guys. And remember this little white shape in there. Here's another little white shape in there. And then I have these lovely shadows. And I'm putting them in there with the carbon. So carbon is going to show up in some of these, in some of the lines. But again, I'm not doing a double line. And why is that? Because they're white. As a trick question. Why am I not doing double m? Because there are white, so I just want one edge to sort of show that they're, they're in, I know that this is in shadow, so I'll just shuttle in there. And this is little bit more, a little bit more shadow. Here is an edge overshadow. Think that's a shadow. Here was a white. We have all these little things and they'll show up as dots will just be doings, bladders for that for the most part. I just want to indicate some of where they go. Okay. One more flour to do. That's pretty quick, isn't it? And that's real time. So keep that in mind. So let's just go here. Right around this flower. Now I do remember I want this to be a lost edge. Some men just tell, show up or not. I'll be able to refer back, right. I just because I did this doesn't mean I can't look back at my original photo. Here's an interesting shape, negative shape. Here. Here's a pedal. Another interesting sort of negative shaped there. Whoops, I think I bumped you. I'm sorry. I mean to shake you there. I've got I haven't done this line yet. I thought for a second that I had because of that pencil line. So that's just something to keep in mind. It's hard to see where you've been, but because I'm going a little darker, that makes it easier to see. Who's a shape. Sure, that's a white shape. So a lot of dark in this area. And this has an edge and I didn't really emphasize that edge there, so I can do that a little bit now. Right? And then shadows, which are going to help us give form and tell us where light is, right. I saw something or they see this edge. I haven't done these little edges yet. Didn't do this edge. So you can flip back and forth if you need too. That was pretty dark shadow. Some shadows in here. Any of these little spin rooms. This is all kind of dark. Here's a negative shape. Haven't done that one yet. Some of those shapes that I thought were interesting, I'm not putting in now but some I will. Okay. Let's take a look and see how it looks. I think that's pretty good. Pretty good. I do want to put in a few more of the little Stephens. I may have little circles. I have fun making cute stuff. So the little circles are fun. Now, there is this idea of flower back there and I want to give it too much strength as far as like this drawing, my Tracing. Alright, see how that all looks like. You can barely see that that's actually perfect. I'm just going to put some color in the wet and wet wash. So now we've traced our drawing. Let's move on to the next step. 10. Erasing And Choosing Colors: Now all that I have my traced sketch, I wouldn't just take a look at it and see if there's anything I want to change up. And the first thing I see is the stem, because this line goes in a weird direction. Just going to erase it and just have a normal white erasers and dust free wider researched, great. I don't care if that one's still there a little bit, but I just want to see I'm continuing basically. This. It just it just was going in too much, so just there. Okay. That makes me feel a little better. I didn't like the way that stem look there. And then let's see, is there anything else? Look, here's an unfinished edge. I can either finish it or not. It doesn't even matter, right? This is just our drawing. Just start drawing. And I think I want to lighten things up a little bit, especially around these bright edges. So I'm just going to just erase a little bit. I'm really lightly erasing. I'm not putting a lot of pressure on a paper. I don't want to remove the texture from my paper. I just want to make that a little bit lighter and a little bit lighter drawing. In this totally optional, I want the lines to show at the same time. I don't want them to take over and where it's dark, it's not going to matter at all. But in this case where I want the whites, I went to lighten up a little and do the same over here. I'll still be able to see my drawing. And as I paint, I may lose some of this drawing. I'm okay with that as well. I'll go ahead and do this. Remember this lost edge only raised quite a bit of that. It's just going to blip in the background a little. And we're going to establish these edges and lines and hard and soft edges with our watercolor more than with our drawings. So that's what matters. Has this brush, this off of the dry brush? No water on this or anything. Just dry brush or shake it off or whatever you need to do. Okay. So now I have a light drawing that I traced and I just wanna say real quick, tracing is not cheating. When I first started painting, I thought if you traced something that meant you were cheating, like you should be able to drive and that sort of thing. And No, no. Even some of the most famous artists in history traced their subjects. So don't feel bad about tracing. Tracing can be part of the process. It depends on your preferences and what you. Okay, so the next step in preparing to paint is to just take a look at our colors. Now, I'm going to use my reference photo to just get an idea of what colors of paint that I'm going to use. Now what I notice in the background is it has blue and it fades to green. And I like that about this, this, this picture like that about this photo. I don't have to do that. I can do whatever I want, right? I like how it fades from blue to green. And so I may do that for the entire painting. And then also not to forget that it does have some of these colors, circular and pinks, the pinks and yellows in the background as well. And this is rather faded. I'm not exactly sure if I want that to be faded and out of focus or not. Yes, I'll just decide that as I go. Okay. Then color wise again, this fade from blue to green. I'm not going to worry about perfection, but I do want to put blues and greens and put some pinks and stuff in there. Okay. So they're more flowers somewhere in the background. And then I will look also I have these peaks of blues and greens, I'm sorry. So I'll use a mix of these greens here. So you create this sort of neutral green. And then I will probably, I'll probably use a, probably uses Cerulean Blue. Maybe some ultra marine. I tend to use a mix of colors when I paint. I'm not worried about mixing too many pigments and that sort of thing. Some water colors don't like to do that, but I don't mind. I think it's fun. Okay then these pinks, I mean, we could use permanent red and we can use crimson like we can throw in a bit of opera, red, violet. So any of those colors work. This is a darker red. Again, Permanent red, permanent rose in any of these colors work for that. And then these are like yellow, green. And I. And a golden yellow here. Maybe we should go for yellow ochre, in this case. For these little pollen covered parts of the flower. And maybe put in a little bit of this green. And I may also use some of the permanent yellow deep. It's one of my favorite warm yellow colors. These are fairly lean to the green side. Some of them do and some of them will lean more toward the orangey color. So that's just going to be personal preference. It's not going to I'm not gonna get too caught up and making it look exactly like the colors of this photo. So anyway, but I just want to think about it a little bit before I start painting. Alright, so now we have an idea of our colors. We've got our reference photo, we have our sketch, it's time to start painting. 11. Painting the Background - Wet in Wet Technique: So I'm going to start with a wet and wet wash and I'm going to go ahead and spirits my paper here. That's going to help my page to lay flat, right? And I'm going to be using a lot of water. So this paper, even though it's pretty heavy, it's 140 pound. It may curl a little bit, but dispersing the backup, it will help with that. Now you may, if you prefer, use masking fluid to cover your flowers. I'm not super concerned with the edges being perfect or anything like that. I'm not going to do that, but I am going to watercolour around them, right? And so I'm going to use wet and wet around my flowers. I won't worry about the stem. I don't have to worry about that because it's going to be darker. Only have to think about what's going to be lighter than my background. And it's the thing that's lighter than my background are the flowers, the stems or not. And I will have to worry about them. So just around the flowers and I'm just going to start with water. And you may find it easier to use a flat brush for this, but you can use, you can use around. But I think I'm going to start with a flat and see how that works. In this case, sometimes it's easier to get the edges right when you have flat. I just have clean water, so this may be a little hard for you to see. And I'm going to do it's hard for me to say. I'm gonna do one section at a time. I think I'm going to wet everything except the flowers. And I'll just start here. And I have a lot of water and I will even it out as I go. And I don't mind if I go over those little edges of the drawing because they're actually become part of the background that way. Again, not worried about the stem. Stem doesn't matter. For the purposes of layering. The background colors not going to detract from the stem and all. So I'm just going to, now once I get this paint on here, and we'd go run that little circle. Once I get this water on here, I'm going to have to work fairly quickly. Because going start drowning, right? It's going to start drawing. And I'm doing a really large area. So I'm maybe doing some tipping, adding in some extra water and all that kinda thing. Like I have a puddle over here that's on purpose. That's a back and stay wet while I'm doing this part. Right. So all of this area around the flowers. The main thing is I don't wanna get the light areas. I don't want to get where I'm going to paint yellow, that sort of thing. So that's part of not too worried about I don't even care if this has puddles. If it does, I think that's perfect because those glued create interesting texture. So I'm quickly, kind of quickly working around this. And again, I'm not that concerned with perfection and not worried about the stems. Can go right over those. I do want, though, a fairly even coat of water around around my flowers. Okay. So that is one thing I'm working toward while out here where my flowers are not as rapidly, I'm okay with that. But I don't want to be too puddle around where my flowers are. That way I have a better idea of a better way to control the moisture. My paper. Ok, let's continue over here. I'm just going to just, I'm just using the corner. I'm taking advantage of this flat brush by using the edge that it has the corner. To go around things. You can use a smaller brush if you feel you need to. I want to work fairly quickly. I want to work fairly loose. So not going to worry too much about that, went over that edge of that flower. Not really. What upslope and four, but that's okay. Alright. Okay, that's pretty good. I see some petals where I don't want them. And can you see these petals here? By the flower? That's because the paper is building up a little bit. I'll just pull that out with the brush. So I don't have a puddle there. And I'm not gonna put the color like super close necessarily to my flour. And you may have to coat your paper with water more than once and work on getting it more, Ethan. Ok, so I see some areas that are quite a bit drier over here. So I'm just going to keep adding some water in saturate. Basically saturate my paper and it will stay wet longer because it's soaking in. And then I'm adding a little bit more, right? But not so much that puddles up. Set like maybe over here, maybe a little bit in this corner, I'll add a little bit extra. So I'm gonna go for that software wet and wet background. I'm transitioning from blue to green. Remember that? And I probably will also do a little bit of color flow on some of the flowers to sort of tie things together, right? Like this is going to have a soft edge and mixing it, having a little bit of the background color come in, there would be probably yeah, I think you can probably see how shiny where the water is. Yet it's fairly even no big puddles and the flowers are mostly dry, right? So I'm not worried about getting some of that Chrome color on too much of it. And then I'm just going to go grab some blues, greens and pinks and just go for it, right? So I'll start with the blue, I'll start at the top. I don't want it to be that dark. I'll put a little ultramarine does to its variety. And here we go. Not looking for perfect even wash. That's not not how I paint. If you like that, you might be in the wrong class. Just because that's just not how I paint. And I, since I don't pave that way, teaching it probably wouldn't work for me very well and won't work for you very well. And a little more of that ultramarine, just to spice it up. Let's spice it up here. Ok. And I'll keep going. And then taking advantage of this flat brush, adding in that color. Working my way down. But somebody here, again, not too concerned about that stem because when we paint over it, look now that is a proper look. Now that is a problem. Therefore, I will go ahead and clean that up because that's on them bright edge of that flower. So I'll just tap it out of their Gallo wacko. And that's OK. And then I'll just go back and give that edge a little bit. I dried it pretty well when I used that napkin. So, you know, remember that you're going to dry lighter. So you may be able to put a little bit stronger color in there than you think you can. I did not put any Pinker anything in there where that other Flower was. That's okay. But you know, I can still do it. So we just put something there and drops some inhere in there. That's kind of strong, but that's okay. I made the pack some yellow in a few minutes. I don't know. Let me add a little bit more to this area. Now I do have some puzzling like here. That means it's going to create a bloom going in that direction as it dries. I can either tip my paper to make it run or I can just leave. It works either way. Okay, continuing on here while this is all still wet. All still wet. Now let's switch to some of our growing just make the thing, everything be tied together. Now I don't want to really mix it with the pink. So I'll kinda work around that. But some blues in there to make that transition between the background. Greens. The blues. There we go. I have to be more careful because I'm using such a big brush. I have to be really careful over here. I did go over a little Lauper their lips that changed that pedal shaped right there. I'll leave it. Okay. Greens, I'm going for the greens line, mechanic marine and some places. Just a mix. I just think it's interesting to have a mixed. Now this pretty dry over here. I'm gonna go ahead and win it again with my green. We continue around. There, we get, Now I'm going to go back to get that more natural neutral green there. That one is called all green. And add it in there. So I go just to mix, just to keep it interesting. Change it up as we go. Some sap green. There's some purple in there. That's from the ultramarine, nothing, maybe from the pink a little bit. I have a nice big petal here. I'm going to just let my thirsty brush pick that up a little. Just think it's too much and same here. So just using the tip of my brush to clean it up. Alright, now I have a really strong background. Clean that up off the edge of that flower. And now you can really see the flowers, right? So this can then, here's another big petal. You can use a tissue, you can use thirsty brush. Just, I'm not touching the paper and just touching the water and letting it absorb a little. I think that's pretty cool. I'm just going to I'm okay if it gets on the flower, I think that'll be fine. In fact, I think that works great. If a little bit gets on the flower petals. Ok. Now this edge, remember we wanted to disappear. So it's just going to just soffit net disappear. Let it pull into that pedal there. I took away too much of the paint, so we'll just add a little bit more back in same colors that I was using before. Okay, that's going to come disappear and not have a hard edge or anywhere else. I don't want it to have hard edges. I mean, what I can do is just let some of that flow into the shadow areas like here. Just let that paint flow within there. There. Little bit in there like this. And a little bit right here underneath edge, even though our flowers are white, right? The shadows are different color. So that'll help tie or painting together. If we let that flow a little bit into those spaces, even into the center may be a little bit. Now really went crazy over here. I can see I just need to pick up more of that. I'll just let that be lighter for now. So you can see my shapes are not perfect. I'll soften that inlet that flow in a little. And I have some shadow areas and our flowers. Okay. What do you think? What you think soften that a little bit. Pulling that color in. So pulling, pulling the coloring also lets you blend things together and it makes for a cohesive painting. Don't want those hard edges there. Alright, I'm making a white flower, but that doesn't mean that every single edge is a hard edge. Some of them are. I can always go back and look at my reference photo and just see soften out little. And that flow in a little. I'm pretty happy with this little wacko right here. I'm looking at my lines now and figuring out, where did I not pay attention? Because I'm not a person who really colors within the lines, so to speak. So just good to review what I did right. Here is a little craziness going on here. To soften it up. Now I can look here at my reference and I know this is pretty dark, so it's probably a good idea to just go ahead and take that color in there. When I put some pinks over it, it's going to neutralize it a little bit and make it more shadow. So now I have just some interesting shadow colors in my flowers and some fun little shapes. There do a little bit more splattering out. I'll set this brush aside and get a smaller brush. And I wanna splatter the yellow. So grab some of that yellow ochre and it's a little bit thick. So Sina move as much and just going to splatter into here, squatters on my flowers, guess what? Perfect DO? Because those statements, that's what they are right there, this yellowy, warm yellow and would like a little bit of green some places. So you're gonna spread out in the background. But they won't spread out on the dry paper. And I just think it creates some interest here. Put some in there if you want to. That was not one, but that's okay. And even though I'm putting these in here noun, I would need to reinforce and probably later on. But I'm putting c where I have my drawing of them. And then doing that, I notice over here this really hard edge, so dry, thirsty brush and just pick that up and soften it. And I'll just soften it. And it'll be perfect than soften this part. That's that part that's sort of blended into the background. Pick up a little bit of that color though, because it's kind of taken over so often, so often that edge. So far, so good guys. Let's see. Do we wanna do anything else? Like if you want to do any other little wet and wet affects. Now's the time. This is still quite wet. This is not as wet over in this area. So the paints and I'm gonna move as much as just some little drops of water, very tiny drops of water. It's, I think it's fun. Creates interesting texture. Push paint around gives you lovely watercolor effects, makes it kind of fantasy like even though we're doing these shaped flowers. So this is going to be a fairly bright background. It's going to be brighter than the one in this photo and that's okay. That's a personal preference of mine. You can make yours a little bit lighter if you choose, just add a little bit more water to your paint. So I'm just watching what, what's happening on my painting now and noticing a few things like these hard edges that I don't want a count like this one though. I think this one adds to our painting, so I'm not going to do anything with that one. I think that's pretty cool. Here's a hard edge over here. That's too much, too much right there. Too much on my white flour. Now my waters a little bit green, so it's affecting one I'm doing. It's clean, that dry that little With the tissue. Cool. Okay. And then here is too much. I think a little too much. I'm just pick a little bit of that up. That does have a hard edge in the photo. It's too sharp of an edge, so soften that as well. Hmm, I actually really like this. This is like such a happy accident here. Um, I think this needs to be picked up a little bit. I don't mind the color, but just don't want such a strong amount of it. So really dry brush that I'm using to do that because it's still wet, stop at any point in time. But I'm just going to add a few more water drops to just explore the texture a little bit more. Because I love slaughtering anyway, you know that about me, right? Ok, stopping now, going to let this dry. Feel free to use a heat tool. Although I really recommend that you, that you don't really recommend that you let it dry and do its lovely watercolor thing. Okay, so I'll be back with you to paint the flowers and stem. Once this strike, it's using. 12. Making Changes to the Background: I have fresh new jars of water. So they'll be nice and clean. This painting is dry now. So the first thing I'm going to do here is I'm gonna sprints my palette, my telescope. Then just going to take a look at my painting so far. Not to criticize it and figure out, oh, where did I make a mistake or where did I go wrong? But just to see if there are any lines and shapes on here that don't seem to belong. And so I'll just point out a few little things or I don't know, whatever I see, I'll point out to you. So the first thing I notice is this little edge right here. And it's all jagged and it's multicolored along with this edge right here. Now, in our reference photo, we don't have dark energy, dark shadows here along this edge or not turned up or anything. But I love homos looks. And so I'm not going to try and get rid of it. I'm going to enhance that as I paint. So we'll see that in a few minutes. Not going to worry about this edge either. I like it a lot. There is a specific place and that is this area of this pedal right here. That bothers me this hard line that's covering up the edge of that pedal. Now I have a choice in how to handle that. I can change the shape of the pedal, which would work and then I'll be fine. Or I can just remove some of this hard line with like water and scrubbing. And I think what I wanna do because it's such a sharp line, I'm going to try and remove it a little bit so I have brush. I'm just going to whip that area. I don't need a big puddle, just a little bit of dampness. Going. Let that sit there for a minute while I'm looking over the rest of my painting. So here's another one of those little kinda crazy looking lines I like that i'm going to enhance that. This is really lost, but once I start painting with my flower colors, that's going to show up again. So it'll be fine and I still want the lost edges, but, you know, it's just good to think about what I'm doing here. I think these shapes here are pretty good and I'm going to be, like I said, Painting enhancing everything. I don't mind these lines. I don't mind these lines. So that's really what I'm looking for. When I'm just taking a look back over after it's dry. I like living the colour flow in from the outside again, I think it ties the painting together. So, okay, so let's see if I can lift this line a little bit. Now that you can do this with a brush. Some people use some people use Magic Eraser sponge, right? Or you can use like a scrubber brush. This is pretty pretty hard line that seems to want to be staying. And I don't want to mess up my watercolor brush me, see if I have a stiffer brush here. And I can just scrub a little bit but not scrubbed too hard. It's just just a nylon brush. It's a little bit more stiff. And I'll describe a little bit. And just want to remove a little bit of that line, a little bit of that paint. I don't care if some of it's there. I think some of the colors I'm using are staining and if that's the case, you know, they're not going to easily removed from the paper. I'm just trying to soften that wine. It's getting there. It's getting there. I wouldn't be careful not to mess up the paper. So I want to be patient. So it's kind of disappearing. Remember watercolor dries lighter and now it's left. So just try that a little bit. So it still has somewhat of a line, but I can live with that one. It's not as hard and defined as before, so I can live with that. Ok. I'm going to get started with my color. 13. Cherry Blossoms 1St Layer: And I'm making a dark puddle, thick puddle right there. And the reason why is I'm going to be using this in multiple places and multiple strings. And I think I also want to bring in a touch up rock right in there. So this one pot or has multiple colors in it. And then Permanent red, red, red. It's fairly cool red, that is Devlin red. So there I think you can see all those colors and are going to be sort of in our mix here. And I'm just wiping most butt off my brush. Now we've got a mix of Reds. So I'm gonna bring over here and create a really light light color. Lighter, lighter, lighter. And then I'm gonna take this and bringing down here and make it even lighter, super light. So it's mostly water. Tiny bit of pigment because our flowers are white. They're white. Or for light pill pink with the pink Center. And the yellow little daemons and Pizarro darks here like in the center that's very, very dark. And some places these areas or dark. So this I may bring in also the red violet. To work on that in a little bit. I'm going to start with the light color. Actually even start with this mid color. And I'm going to paint the stem. And my stem is in the background and it's very dark and it's a bluish purple kinda color, almost black, indigo ish kind of thing. But I just want to put it in there so I know where it is kind of a thing. And so I'm just going to start at the edge of this flower here. And it helps me to find my edges as well for the flowers. So just putting in this stem or tree limb, or you say it is very lightly as you know this because I can always dark and at later leaving me to go here. Now, it's pretty rapidly, but I'm okay with that just because I like the watercolor effects, but, you know, you might want a more even kind of wash. So I'll go ahead and do that. And then here, now, if you notice I'm painting over green and it's going to affect the color that I'm painting. So this looks much more neutral, much more orangey really than this, because it's got that yellow green behind it. And I'll go ahead and do this. Now you don't have to put this stem in all the way here like I'm doing, but it's just something that I wanted to do, right? And I'll go ahead and do these other stems as well. S1. And that one, and I left a little space there for the stem of the statement or a pistol or whatever. I need to look up my flower parts and we're here, sorry. All right, that's a good start for just laying in the color there. Now one thing we can do is do some centers. So that's going to be a darker color here in the middle. And something I wanted to show you is if you notice, we talked about this being very dark, but the little stamens right there, they look white when they're on, or pink, light pink when they're on top of this dark color with the little yellow dots. And then they look pink or darker color, pinky purple kinda thing. When they're out here over the white, the lighter, brighter part of the flower. Ok. Still a really light pink there, right? But it's not as light as the flour around it. I'm I'm thinking I'm going to come back with say, a gel pen or a marker and put a nice white marks rather than worrying about saving the white of the paper for that. Because for one thing, they're not the focal point. So if I want the widest white, I don't want it to be that those little stems. So I'm not worried. I'll come back with the pin and put those in. Okay. So dark color, which I'm going to lay down here. This is not as dark as it can be, but and it's kind of, I think I feel like it's kind of fury on the edges. And it's not very, but it's just not even. So I want to just put some water around and let that run and commit and spread out naturally as opposed to just filling it all in. And I am going around the yellows and that's kind of optional. And do you want to look at the shape here because I didn't do. So this shape is pretty round and it's quite dark in the center. Right? Okay, at the same time, we can also bring that color out into our flour. Like that. Just let it, let it flow out, leaves some spots. This is a very dark spots. It doesn't even matter if you go over and or not. But just bring that on out into our flower. Now where that was blue, it's looking much more purpley and that's what I want. This one goes here. Leave some spaces and just put some little lines and things. So I use the darker color in the middle, but then when I pulled it out, I used the lighter, the meat, the mid color that I have here. Go ahead and drop in a little bit more dark and the center. And that is going to move. So I didn't put too much. Right now I can go back here. And I feel like these petaled are like almost completely pink all over, but they do have those little white edges, remember? So let me go right around that edge, right over this shadow. And that's pretty dark shadow here on my reference photo, this dark shadow right here. And it has a hard line. So I think I wanted to just let that have a hard line there and that's hard for me in case you're wondering. But I can't just also tie in the color here. This way. I'm not touching the stem here. I don't we'll actually doesn't even matter if that bleeds in there, not so actually, I think it will and leave a little space and I'll get some water and put some water in here to soften all of that up. Because I'm not doing wet and wet now, right. I'm doing what? Went on dry. And then this goes all the way over. Alright. I like that. This needs to be over. I can take this and go ahead and in this hard shadow, that's Cambridge more here, that's fairly dark there. And let that little edge show up like that. So I'm looking at my reference photo, looking at the shape of the shadow. And then this is still all pink. There's like really lighter area there. So I'll just go with the water and not going to touch that line because that's a hard line and I don't want it to be I want it to be hard line. Okay? I might be over analyzing a little bit here, so let me just speed up a little and put some water in the pedals. Think I'm over analyzing it here, which is going to pave this light pink and let that water flow out and go right over where those edges are. Though they're folded. Since this is so light, I can just go right over the yellow. And then this one has this strong edge. Pick up more color. They are strong edges. Shadow. Notice I'm making my shadows pink. You can make them more purple color if you prefer. They're going to be more muted because they're over that other color, blue or green. Ok, now I'm just getting water is going to soften all this up. Connect a few little spots. I am leaving some whitespace. Going over the rest of that pedal like that. And kind of drive up and dropping some more. And I'll pick up a little bit of this. Red violet to drop in there in the center. And I'm not, I'm not worried about making exact shapes at this point. I'm just trying to get some colour flow and get the idea of the center there. And it's not a straight line by any means. It's got a lot of edges there. So I'm using the tip of my brush to tap and it flows into wet areas. I'm okay with that. Okay. So that's center basically. We may want to make it a little darker in the middle. The MRD or red violet, they're strong mixing. Just a little. Ok. So that's a little pinky. During this flower, I think right now I'm going to speed up EM work on other flowers. Come up. Since I kinda covered what I'm doing here, I'm not going to rehash everything. I'm just going to paint and I'll come back to you when we need to test them. Ok. Yeah. Okay. Water. There we go. Okay. I'm stopping with that one. And I'm going to go to this one. Now there are some really big hard shadows that showed that this flower is above this flower and I like that. So I'm gonna go for that. Let me use a blue that already used. So let's use the cobalt blue. Just a little bit of it. Mix in a little bit with our pinks there, sudden creating this little corner of purple shadow color. Maybe you wanted to be a little bit more neutral so I can even at a tiny touch of the same yellow we were using, which was yellow, ochre, just a tiny bit. Shadows more neutral. And I am just going to follow my reference and paint this really strong shadow here, right around this edge. And it goes just like this. Now I drew it and I'm going based on my lines that I drew. Plus one I'm looking at, at the reference photo. So I'm looking, I'm looking here, this big, one, big shape, right? That's this. And this, basically this whole, entire pedal minus these little rectangles. So Let's just go for it. It's kind of scary. I have to say it's kinda scary. But it is what it is. Let's just go for this whole shadow. We want it to be connected. And it's all connected here with the stem. And all around this flower, there's one little light spot. And just go over the distills there. There's some little white areas here. Alright. Now we'll do the center, okay, with that strong pink. So let's just go, let's end this little circle. And we'll just let that escape out into the wilds of our petals and create a little wavy edge, a little there. And this is super light pedal. So I'm just going to, I don't want to be white, but I want to be lights up. Just gonna go for it here. Right over that green. It's an a, it's trying out the main street and let this t semiotic matching camp. 14. Creating Contrast with Negative Shape Painting: Okay, this is, this flowers mostly dry, so I want to emphasize some of the areas. And I'm going to go bringing now into this pink, that cobalt blue. And I will bring in even more of the red violet. More red violet, that's to purple. To be more pinky purple. That's still pretty purple. That's not the colour I'm going for. And let me grab some crimson, like bringing in that crimson like now I'm gonna take this over here. It's still too purple. I think. Crimson Lake, the Crimson like is closer, but I just want to mix the colors. I want that blue to be in there, and I want a darker thing over there, two. Ok, so as you can even add that in there and that in there and let it bleed out a little even more like little lines and texture with the tip of the brush. Sits already dry. Drop in some of that really dark. All right, good deal. Now this flower has all of these dark shapes, right? They're pretty neutral too. I just realized that there were a little bit more neutral. So let's bring in a little bit of our scary now, a little bit of our yellow. Neutralize that. Yep, yep, that's what we need right there. So see this color. Let me do that here. So you can see better. So yellow ochre, which is the yellow we used earlier. And that's pretty that's more orangey that I wanted to pick up a little bit more than little bit more. All right. So this is much more neutral color than this. So that's the color I want to sort of create some of these negative shapes that I have in here, which are here. Here's one. Here's one here that's really dark. And I'm just making those hard negative shapes. That's hard for me. But I'm gonna do it. I want to do something like soften them, but that's not what we need to do. I'm going to switch brushes. This one is a little bit and get this number for Mark Hall at brush and go to my neutral dark here. This is really dark in here. And I'm looking and it has like a little shift there. So that's something going on in this one. I can soften in this area. Lip flow out a little bit and soften into the background. Ok. And when you put up, I don't have enough paint here. I can tell you. Little bit more of that yellow. Yes, I am getting some yellow in there, but that's okay. It's creating a lot of continuity in my painting. All right, a lot of unity. So then let's go here. We can connect it to that middle and lead to outflow. That's good. And it's a little dark shape in between the petals. And it just goes around. There's something happening back there. Ok, this can be darkened. How we can use this to talk a little bit more along with our neutral to eat the little bit more. And again, can I put some water down on what that flow into? Just go there and make that even darker. Now that one's not as purpley as the other ones. So I'm going to put some of this read and I'm using the color that I'm seeing, but, you know, you can change it up and it is a mix. Okay, so you're not going to look exactly like mapping a little red in here too, because you can then, because I like it. Okay. Now, not gonna touch some of the stuff that I'm going to go back to my palette here for said, can we use my flap rush? I guess we dip into that blues and blue greens that we had. We painted and emphasize the edges of some of these flowers right here by negative shaped painting around it. Now the background is still going to show through. And then just pull I'm just going to pull it all out, pull that color out into my painting. All the way to the edge kinda thing. Pulling out even further than I think it would go normally. Now I'll go to this pink because I'd pink in the background, right? So rather than use the same color, I'll go to my crimson lake that I used. And you can't see my palette at this point, but trust me, you'll see when I put it on the paper, put that pink there, make it darker. I'm just making this pink darker. So the flower petals stands out. Alright. This is a little bit of pink. I can't do this wet and wet that I'm doing with a dry for the most part. Just make that standout is still going to blend into the background. So now that pedal and this partial portion of this pedal stand out more right? I think you can see that. I can dark in an even more still wet just drop in more of that blue. And I don't want to just be a blob there. So that's why I'm pulling it out into the painting. And let's get a little bit more with this. Cobalt, not too dark, pretty watery, right? Because this is cobalt here. We don't have to worry about grabbing the ultramarine because it's still going to have an effect there. It's not going to change anything by putting or not in changed much by putting the cobalt over. So emphasizing the edges of these flowers, I could True them up a little bit if I want. I doing this negative shaped painting around it. Sooner, put water here to just soften them away. You would go. And I did get the blue into my stem and move that up. So I've taken this area now and negative shaped paint around the flour and now the flower is standing out even more, looking lighter and brighter because I darkened my darks. Okay. I darken the colors around it and made the lighter colors stand out. And I'm doing less and less as I go, right? And less and less coverage. This is lot of water. I went all the way to the edge, but I didn't change the color image except for right around the flower. I still see this weird line thing going on here. So I'm gonna drop in more, grab some of the green, drop that in there and just pulled that out as well. I don't mind if I have some brushstrokes in here. So I don't think there's going to be any kind of hard line from any of that. I could just continue here around this flower. It's, it's drive and that's the greens. And let me just do that while I'm working on this part and go ahead and pull in some of that green. And just go right. We have a stem there. We have our here. And I'm just taking up some of the edge of that flower to you. I'm not occurring, not leaving that whole edge. So pull this out into what's wet at all blue right here on this edge, SSH. To emphasize that, go back to a little bit more of my crimson lake right there. So I'm pulling this all together now. And I can even add a little bit more green in this area. If I get some gray, that's okay. I want to emphasize that flower petal is all I wanna do. I'm solemn, worried about. Okay. And then I'm going to drip some water in here because I like the texture and think it looks nice. And I want to continue with that even on this layer. Alright, so I've done this whole section of background with negative shaped painting around the flowers. Think they're looking pretty nice, pretty nice. I may do this one as well and emphasize the flowers. So now I have this lighter color of the cobalts. And just going to go wrong in here over what we had, pulling it all the way out. So this flat brush is working really well for this. Some of my pencil lines are underneath the paint. That's okay. Just going right over some of them as if they're just, they're just marks in lines. It's not the edge of the flower anymore. So I think that's like a pretty nice and yeah, this flat Russia's working great and making it really easy to get the edges. I'm going to turn this to make it easier for you to see. I can paint that way, but then my arm is in the way of the camera, so I'll just put that in here. I am going to go around that edge because I like that being part of the flower, that color of that edge of colour. And it does tie it to the background. Pull that out and just continue right around leaving some white. I am leaving some white and a little bit of blue in there and that's okay because I can, I I like it. So I'm just going to go right over this, varying with this blue because it's such a light blue and the green is already a blue-green. The Orcs. Okay, let's get now I'll transition to the green down here. I love that little section and I don't want to mess it up. I like that. I don't know. It just makes me happy, happy, happy goer here because my edge, My flower is here. And continue a little bit there, a little bit there. Maybe get a little bit darker. Over here. And around. This flower is well, pulling it all out in here. That's part of the stem. I think it's not gonna be as omega matter as much. Ok, went right over the stem there because sims going to be darker eventually. And the next layer probably sounds timeline now lows, flattering into the wit. Now it's green because my water is green. That's okay. Okay. With that. A little bit cleaner. So I like the blooms and effects and that's why I'm doing it this way, right? So now this area hasn't been done, that's kind of contained, I guess you would say I'm just gonna go over it with the blue. Shouldn't be bright right there. That's part of the shadow of, of the flower. And go right over the edge of this bottom flower because it's blended in. And I'm seeing a shape it, my drawing right here that I didn't notice before, it's darker. It's going to be the darker areas, so I don't have to worry about going around it right now. Right around this flower. And up into here. Excuse me, my nose decided to be snippy. And story into here, just creating some levels of contrast. More contrast. Whoo, I'm like living in London. It I'm loving the contrast. 15. Cherry Blossoms 2nd Layer: I'm loving the contrast is just, I just love it. And I look at this center, it's perfect. It's smooth, straight line. That's not what I was going for, but that's okay. I'm just going to do is go back to mine. Some purples here. And I'll just add. I could use a smaller rush, I guess my one. But just let me just do a little tip of bringing those color out and I'll just cover the whole center, they're dark and then connect it. So it has a smooth edge, kind of Canada's move edge on the bottom, but definitely not on the top. So I'm just gonna put some little tips. Okay, so this is basically layer number two of our painting or glaze number two. And so weird shaped there. Also notice in this areas still blends in more than one a to some numbering in that darker green, little bit stronger in this area. Okay. If it blends in there, but and then I can bring this ME here. Have to be careful not to get too much of a hurry. I get I get excited about things. So there, let's pull that out. So far, my favorite flowers, this one. This one is a little wonky. Center's kinda crazy. But it's okay. Still damps. I'm just gonna scrub that edge around a little bit because that's just too hard of an edge there. Just because I kept adding paint. Now, this is kind of, we're almost, it's almost like we're in the ugly stage of a painting. Paintings go through stages and sometimes they look better at certain stages than other stages. And that's part of the process. We have to realize that's all part of the process to be very watery. So I'm gonna go over this flower area. It's supposed to be nice and bright, but it's a little too contrasts you right now. So I'm just going to go straight over that line and try and tie it together as it's one petal and not separate. So now I'm just adding in some texture with this light color. I like the way it looks. I'm gonna go over this shadow area here as well and then fade it out. So I'm just going to do a little bit more. Peaking up this flower. Pink it up a little bit more. Is my favorite, but same Tom's like it needs some work still. So I'm just going to add some lines and they are. Now I'm getting a little bit more illustrative and a little bit less realistic. But that's my style and that's how I like to paint. So this is not about painting realistic flowers. This is about finding forms and shapes of flowers. Right? That's what we're trying to do here. Or that's what I'm trying to do here. Soften that all up and let it be tied together. So now I have this idea that, hey, there's this flower and the center is lower. Like I can see it now visually, I can see the form now better. When I clean up a little bit of this pull, lift do lifting to lighten them, Some of it, drying my brush, pulling it down over there. It's pretty subtle, but it does get the job done. Maybe this area should be a little darker. Suddenly can go for this more purpley color in She's where's turned over an n-channel. And also should probably continually under there. I have a problem or my flowers are overlapping here. And I can see you can't tell what's y there will dry brush me. It's very small. And again, we'll just drop in here and there. That crimson leg, just to give it a little bit more, a little less perfectly rounded. I don't like the way that was perfectly relevant ads, which pressures again, we also need a smaller brush that's just too much. Okay. I'm having a bit of a struggle between being loose and tight. And I prefer loose. But sometimes I get caught up in being tight. So just keeping that in mind, that's where I am right now as I'm painting. And it's bugging me that that stem is not straight guy. Wind to nature things are not perfect. And tell myself that right now. And nature things are not perfect. All right, there we go. Lowered water drop there for some came from my brush. Okay. Now I'm going to draw it. 16. Adding White over Watercolor: Okay, I have dried it and now I feel it's time to lighten and loosen up. So I've got my acrylic paint pan. You can use a gel pen and I'm just going to start playing with some lines, loosening myself back up. I'm getting kind of tight when I'm working on it now. And yet that's not my way of working. So I'm just going to work on that a little bit. You could use whitewash brush and we're going to use this acrylic paint him. All right, so let's have fun here with some white. I'm going to define something like this. Even scribble that in. So I'm just putting this white where I feel I need to define things where I wanted to look more like what? Now, getting away from the reference image where I went to look more like what I have in mind. Ok, So that's, I want this edge to be less perfect. Well that white in there. Now this white is going kind of fade out a little bit, and that's really actually quite good. So I'm just adding some line mark in. Hit a little scribbly here guys getting a little scribbly, but that's how I roll. Doesn't have to be perfect. I do want this kind of blended him, but maybe not quite so much. Filling it needs some brightness. I'm just reinforcing that edge and pull that out a little bit. Make sort of that. Go into flour. And a little better. Maybe it needs a little more work. Time. The loosen up button to type work into realistic for me to show my pen is working in nice and juicy. Well this, I will, I am not putting these little lines in the middle yet, but I may. Before I finish here, let's add a little bit too there. Do a little bit there. I love this little edge. I want to emphasize that actually, so I'm putting a little white color along the edge there. But that was really beautiful. Kinda got lost a little in them, little sad about that. But one thing about painting, you do have to let things go. Alright, let's do a little bit more here. So I'm scribbling in adding some form by adding these lines, right. Adding definition there. Lightning brightening that area a little bit like an aloe, better, feeling a little more bright and lost some of the brightness that I had and yet didn't like that. And actually this is supposed to be quiet variety along this edge. So has that shadow along there. But then it has this bright white edge. And this might be better to do with squash. And go ahead and do it with this pin. And it's kind of blending in with the colored sorry, on the paper. And it lost the shape of that as well. That were, the stem was. So just bringing back in. Now I know there are plenty of artists who say, oh, you shouldn't use like white acrylic pin or whatever, then it's not true watercolor. The only reason why it is still true watercolor, there's only one reason if you're entering a contest. And the requirement is that has to be pure, true watercolor and you can't use any other media with it. That's the only reason to not break the rules. Right? You have a reason for not breaking the rules if you have a contest that you're entering in and it matters that way. So I'm scratching us in there. And I want that shadow, but same time I'll fill it gets so sharp. Maybe some of it should've been blended out and some not. Don't know yet. Maybe I should watch it out entirely. So let's add in some whites. Scribble pleas for edginess. Just some texture, creating some form with the following the contours of the pedals with the lines, right? So now this is in shadow areas. So what I'm doing is brightening it up here with this pen and not so much in the shadow and following the contours, the form of this flower petal. Move on to our last flour, again, trying to be loose, more sketchy loose. Keep him with these edges. If you have a bigger area, you might want a bigger marker or might want to use a brush. Brush. All right. All right, I like that. Now you know what I want to splatter some loose my round brush because they don't want to splatter everywhere. Okay. And I'm going to splatter is going to be kind of like the I want some of that but not that much. And then I can go to my yellow ochre. Now, if you want to, you can you can mixing that yellow ochre with the white to make it opaque with a whitewash to make it even more opaque. Now yellow occurs a little bit opaque are ready, but this'll make it even more so. And remember, you can dab this on if you prefer, but I'm going to tap and tap acquire a lot of that on there. Right in the center around as well. Not finished completely with my painting, but I need need supplied are on here. I'll make that a little bit. Here. 17. Adding Stamens And Splatter: So I decided I want to put some of those little stems in. Either everything is dry. I'm going to present some of those little statements or stems. And I'm going to rather than use my pen, I'm gonna use this whitewash with my rigor, is going to give me some nice lose marks. And I'm just going to think about the direction. So in this flower there, going in all directions, in this flower, everything's kind of going up. It's because of the direction the flowers facing. In this one, they're going out and up. So just going to think about that kinda as I'm doing my little strokes here. And I don't want too much paint on my rigorous. Let me just tap that off a little bit and I wanna make really light loose marks. So let's just go for that. Let's see, they're going in all directions here. Let's see. I think when I'm putting my brush down and getting some maurice I didn't necessarily want. So let me just, okay, now over think at remember B until you loose, expressive. They go all the way out, light, way out here, C. So some of them can go way out from the center and different areas. And I will go back and sprinkle in more of those yellow, yellows. It's a pollen. Alright, these go mostly up. I don't want to drop see there's kind of a big drops and tap that off. Just like with watercolor and can do wash. Careful to be really light touch. And some are short and some are along and single out a little bit. But mostly they're straight up. And that's going to give us the direction of the fiber. This part should not take very long. This one, I notice. You can even see the most on way outside the petals of the flower because the flower is tilted. We're looking this way, right? So the flower is tilted away from us. The petals are, and these are going straight up toward us. And so they look longer. So let's just put some of those like even outside this area. And they are a little curved and that sort of thing. And they don't really and they go a little bit too, like down and around. Okay. So just some of those NOT NOT going for anything, you know, super perfect, not trying to make it look exactly like the reference. This dried and it's very translucent sum and just add a few more that are lists and translucence actually perfect for this. So keep that in mind. Summer going this way and that way. This way, remember we had some of those shadows in there. This is one I can put a stem and their little more carefully for this one. And then noticed felt like it's both to be more solid. Alright, so some going out this way. Here's one. Here's one right here. And like I said, I'll add in more splattered dots, but there we go. Some even go across this little hole here. You can make it more white in the center area and then look lighter on the outer areas. So just do some of these little dots as well. Just get some nice texture going. That one's a little Arrington, that's okay. I want one way out there. And these don't have to be perfect lines. Now keep that in mind. And they're going to be bright. They're not under necessarily the shadow of this flower, like these petals are trying not to be too stiff though. But that's just there we go. A few more. Now, I could use thicker guage and there'll be more solid but not going to worry too much about that. One. A few that are maybe a little bit more, right? Very good. Now let's go back to my round brush. And I add in more little white squatters in the center. And this area on the pedals. And then this yellow ochre mix, Moore's platters. And I was thinking of doing some correction here and I may still do that, but I'm pretty much doing some final touches. So if you don't need or feel any need for any correction with your painting, then. Don't, don't add more than you need to. Don't don't overwork. Maybe overworking of it here. I don't know. Okay. Okay. Yeah, I do think I want to work on this a little bit, but what I'm gonna do is take this whitewash, MY pink, or now I have contaminated my whitewash. But that's okay. I just want to just wash over this a little. Just feel like it's too solid, too much. And that guage, We'll cover that up a little bit. I don't want to get rid of all the shadows are going to use water to just spread that out a little. There we go. Much more subtle. Definitely like that better. So fix that a little bit. Now, like I said, you may not need to do this step and that's fine. Do that a little bit here as well. Just feels a little too dark, even though it's a strong shadow. I want to be a strong shadow, but it's just a little too much like a shadow. Still gone show but just not quite as much in this in the back with a little differently about well it gets okay. Alright. So that's a little bit of that. Could this really mean in a little bit more thickly right here? So still I have the shadow, but now it's a little softer, a little more blended in. You'll get fits a little better with what we're doing here. Look, I have gotten this interesting hard line here. I think I want to soften a little bit with my damped brush. Remember at the beginning I said I don't like hard lines but I like to blend. That's what's happening, male. I'm going back and going, I won't this blended. No, it's okay. I love it. I love it. Are right. So I'm going to let this dry. I'll take one final look and then we'll call it done. 18. Final Touches: So there's one last thing I'm seeing as I look at this painting and then is that this branch doesn't really recede and that's bothering me. It just as drawing too much attention. It's too bright. The values not as dark as it needs to be. So I'm going to take some indigo and mix it with my purpley mixture that, alright, that's nice and dark. And now I'm just going to go right over at least some of this branch and I mean, that cover the entire branch. I haven't decided yet. But for sure some of it. So to change the tone of it there and make it a little bit more. And I will bring this same color into the stems and filled in need as well. A little bit into here. That was a little bit wet, but a little bit of darkness there. We'll put the darkness in here. Just tapping it in some shadows. And same doing this to tie the painting together and to bring in more of that dark receding color. Even more. Another, another bit there. That's more true to our original image as well. This is a dark blue, purple. I just thought it might be too dark and still maybe bring this into true up this edge because it feels doesn't feel like it's in front there. And this is actually a folded over edge of the flower petal. We can just add in, bringing that forward a little bit. Same here. This one, the shape of it kind of got mixed with a shape behind it so that one's more in the front that way. And then a few more little white stems. Same here. P, little dots or associates, barely moving at all. And that's what I want in this case. Just to make that opacity when I wanted to be to create some little brighter. Okay, I can keep fiddling with this because I loved playing with it. And I hope you've enjoyed the painting process and seeing how it comes together. Thanks for joining me. 19. Project and Thank you!: Thank you so much for taking my class. I appreciate you being here and I hope you've really enjoyed it. You paid it along with me and you've learned something along the way. You've improved your watercolor skills. And more than that, I hope you've enjoyed the process, that you've allowed yourself to have some freedom and some playtime. And just a little bit of relaxation in this crazy VC world that we live in. So thank you again for joining me. You guys are just absolutely amazing. And I can't wait to see your project. So for your project, it will be really cool for you to progress through the stages of creating a watercolor painting from tracing a drawing. So you may not want to trace the entire drawing. You may want to only traces section, especially if you're new to this or if you don't have a lot of time. So for example, you could just trace one flower and you could use that for your painting, right? So we'd like to see your progress from taking the photo and it can be your own photo or the one I'm providing and tracing it onto some tracing paper or some thin white paper, and then transferring it to your watercolour paper. So once you have the tracing, you can transfer that to your watercolor paper and then you can paint it. And so your final project will be to paint it. But if you choose to do the steps along the way, which would be fantastic and give you such an idea that it's okay to trace something to transfer to your watercolour paper into pain. It, it really is okay. Artists for four, from times past have done the exact same thing and it's a common practice. And it's a good skill to low, it would be a great practice for you to just sit down and try this sketch. However, I am providing this for you. And if you just want to transfer to your watercolor paper and then paint, then please feel free to paint away. I love painting as you know. And so your final project would be painting Flower with watercolor, right? You can do when just like mine. You can do if you're a beginner, especially you can do simplified version and just do one flower. And if you're more advanced, just go crazy. You can add all of the flowers. I only did three. You could add all the ones in the background and really go crazy. So again, thank you so much for joining me. I can't wait to see your projects. And B, by all means, let me know if you have any questions. Alright, thanks so much to see you in class.