Desert Botanical: Succulent Watercolor Painting

1. Let's Do This: Succulent Watercolor Painting: Hi, guys. My name was Rachel is converted owner, artist here. Puddle studio. For the longest time, I had a passion for water cooler oil painting and illustration. But today I want to focus on watercolor. I want to teach you guys today a little bit more how to use your brush and colors. So being an errors on the base artist, I'm surrounded by desert plain light. So I bring you guys in serious called Desert Botanicals, and the first of the series is gonna focus on succulents. So today, that's what I'm teaching. We're gonna start out by going through materials, color swatch ing and then show you three ways to succulents. I'm gonna add in a few tips and tricks along the way. So the attention and I hope us follow along with me and with the Siri's Let's go 2. Let's Talk Materials: So here's a list of materials that you'll be needing to make your painting today, and I'm gonna go through them step by step with you. So you get a better idea of what you're gonna be using. Of course, you're gonna have your pains and your brushes and a few other things. So let's go through them. So for the paints, that will be using their all watercolor, except we're gonna be using a gua sh as well. So we have our groups of greens and here's Argh, Wash. So it's a Turner and the others are so hope. Backwash is a little bit thicker, so you'll need more water to dilute it. And then you have other colors here, some black, some indigo and then some other colors that can help your picture pop. You can choose between a Carmen or um off. Your brushes are a very important tool when painting, so it's good to have the right ones. I recommend an ebony splendor, which are really great. So here you have to round brushes. One is this smaller, and one is a larger around brushes. Very versatile. You could do all different strokes with it. You can use thin. You can do thick, and with the small brush you're able to do really thin lines and detail work. It's all about the relationship you have with your tools, especially your brush that make all the difference in your work. You have a few different options for pallets. Here you have a normal pallet. Where has little individual pools that you could put the paint in, and then you can mix on the side, and then you can have a travel palette, which is really awesome. If you like to move around or paint landscapes. It comes with a lot of sheets. Here. You can see I can rework it easily once it's dry. A lot of times I use this for workshops, and it's really great if you're starting to paint. If you don't want to invest in a larger palette, I recommend a Can Seuin to use for your paper. It's a watercolor paper cold press, which means this textured it's a student grade paper, but it's still good enough quality for starting, and you get a lot of pages for it. If you like the spiral than I suggest a Strathmore win power book and that way you have them all in one place. If you like to travel, this is a good idea as well. Your water cup. Don't forget about your paper towel. It is also a very important tool. You can dab up to the pain to create layers, but also you can stroke with it to get some excess paint or water out of your brush. This is artist tape. You tape it on all sides of your piece. That way, when you paint the water doesn't pull or buckle your paper, leave it on until it dries and then slowly pull it off. 3. Explore Your Colors and Stroke Practice: so to start out, you wanna wet your brush, get the water there in the bristles, tap it around the sides a little bit. If you have too much, you can tap it onto your paper towel with excess water. Then you want to open your pains. I like to start either going from the top and across or down this storm, not right smack in the middle. You we only need a little bit just to start out with, especially if you don't know what color it ISS. You can always add more. I like to group mine. So the greens together. So this brand here is a really good student brand. I like to use it as well. It's a very opaque so you really only need a little like I said. So you you need some water to really dilute it here we're putting the wash down, which, when we use that, we want to use a little bit more water just because it is a little thicker and notice how they looked black except for that wash. That's just to show you how opaque or dark the color is, how much pigment and has so once we water it down, It won't look so dark anymore. I'm going to really be using the Carmen. But I wanted to show you that you know you can use purple. You can use red really any color If you're more of the natural type than you stick to your greens. So here only to pull from my pile really water down and you're getting the paint in the bristles this way. Don't be dainty with it. Otherwise, you're not going to get enough paint in your brush. Start applying your swatch. So I like to create a square and just notice how light it ISS. So I'm gonna pull actually a little bit more color running around and notice how I'm using the same color but just more paint, so it's a little bit darker. I want you guys to get an idea of how that works. The relationship between the water and your paint will make up the consistency or how light or dark your painters. So then it again I'm doing it for each one colors. Watching is important, especially if you've never used the color before. It will really help you discover new pains. You can mix colors. This is like a nice kind of more like Foresti or green, I would say less natural of the type, but this is all the same color and just nor is the difference between the right and the left. The right one is much darker than the left, and that's just because I use more paint and you'll get the hang of this more the more you paint. So now I'm just writing the name of the paint so that I remember. And once you do this a lot, you won't have to do that as much so again writing down the name, Really, You only have to do this in the beginning, when you're learning, because you'll become familiar with the colors that you use often and here I'm trying to get the color out of my brush. That way, when I'm using a lighter color, it doesn't infect or, you know, mess up that the normal tone of it. So I like to make sure I wash it out of my brush and you can powder on your paper towel. They were going to the fund colors. So here's the MOV look at how beautiful that purple pink is, I am adding a little bit more paint to it. It's hard to see the difference here taking my Carmen, and I'm just diluting it a bit and just again notice how I'm pulling from the piles is instead of diluting the whole pile. So the reason for that is if I want to mix my colors. I don't have just like a pool of paint. So it's the water down pool. Um, it's better that it's more solid, because then you have more of the true color a lot of times when I'm mixing similar tone. So like the different greens, I don't really worry about cleaning out my brush so much. But Sam switching from like a green toe a red, I make sure I do, because if you have green in your brush and you mix it to a red, it turns more brown. If you're not careful and so he won't get that true red color, it'll be a mix of the two and you'll get a brown. So that's when you have to start, you know, with your color theory and thinking, OK, well, these two are mixed together. Am I gonna get, like, a muddy color. So just think about that. And now you have a beautiful color swatch that you can reference as you start your succulence. So before we start on the succulence, I want to show you how to make some basic strokes and how to hold your brush. And you can use any color for this right now. I'm gonna be using my Carmen just to show you how to create strokes. Really? Get it into the bristles there. It's the way you hold it. I hold my like, I hold a pencil, so I have the most control towards the tip. You want to be comfortable with it, You would hold it at an angle. You don't have to hold it straight up to make small lines. I feel like a lot of people think that butt you hold it at an angle. So I'm just making some thin lines here, and then I'm opening the pressure and lifting. So this is a basic stroke, so I'm gonna show you a few times. You start with the tip and I'm gonna show you going horizontal so you can see better. Just watch my brush in the pressure. I'm pushing down and as I'm pushing down in holding it, so just with a tromping in the pressure that I'm putting on it And once they hit that halfway mark, I'm slowly lifting it up. So you want to do it slowly, especially when you're starting out. Otherwise, you're not going to get a very good end. So I'm starting with my tip here. I'm pulling and I'm creating pressure pushing down as I'm pulling, just look out wide. That issue cannot be dainty here, lifting it slowly and then you're creating a different wet. So variation in your with is really what makes things more organic looking, less geometric. So the more that you pull on your tip, the thinner the tops gonna be. So I'm kind of just placed it down here, so I have a less of a tip. It's not as long, and here I'm kind of vibrating my brush a little bit, rounding it out. So I get a whiter top. So there's there's different ways they can create strokes, but the purpose here is to show you that it's very important to have a variation. You want thicken thinness in your lines It's very important when it comes to organic. You do not want that geometric look. You want to do the same thing, but kerf. You want to practice your curves because not everything is going to be straight up and down . Try curving into each other, and really, this is just a change in your brush so you're just moving your brush at an angle. So again, tip Bresse hole and lift. You want to practice small? Sure, you know thicker and thinner ones as well, and here have combined to too great a full or leaf or petal. So if you're your brush isn't big enough for the size that you want, just combine them. Just look. Just look at the pressure. You want to see a difference, and if you have it, press on your paper in between just holding it. Just look how thick I can get here with it. Don't be scared to press down. Otherwise you'll get strokes such as these, and you don't want those those types of strokes. There's no variation in them. They're just straight lines. It just noticed the difference. How much more organic. It adds so much to your work So that's why I wanted to show you this first because they think it's important for you to understand the types of strokes that you'll be making because we're gonna be doing some outlining. I want to show you how to use the tip of your brush when creating the succulence. So you want to create, we're gonna be creating outlines and you want to be creating these basically wishbone type shapes or say, like a bottom of the heart, an open heart. I like to try to relate it with the terminologies. You guys get a better idea. This is really with using the tip of your brush. You want to create a curve, and that's really what is important with this curves, because I'm showing you right now. I start out with tiny little Lima bean shapes, and then I worked my way around and I say Go, they get a little bit bigger, but the curves makes such a difference. A lot of times I noticed people not making enough of a curve, and it turns into more of a triangle shape, and I'm gonna show you what that tends to look like. So here I'm showing you the triangle shape and just notice how, Yeah, you don't want that. You want those curves, okay? And it's if it's easier for you to start from one side to the next than do that. So I hope you guys get a little bit more of an idea of how to form things or your shapes out of form shapes that can help you with your succulent practice. So before starting your painting, you want Teoh, grab your paper and you want to tape it down to a surface with the artist tape that I mentioned earlier. So I like to leave about 1/4 inch or less around the outside border. And again, artist tape is helpful because water, which is in the water color, um, that we're using it will buckle your paper or cause a ripple effect if you're using a lot of water, which we're not planning on using a ton of water. But I want you guys to do this because once you get better and you start new things, you might be using more water, and this will be a helpful tip along the way. So just taped on the sides or the border, and once that's finished, we can get started 4. Natural Colors: Aerial Succulent: the first succulent that I'm going to start with is more of an aerial view, and we're gonna be using some more natural tones. Sore Stick to the greens. I'm gonna mix it in to my small brush my detail brush just to make sure it gets into the bristles. Before I get started, I'm going to start with a mix of the hooker's green and the permanent sap green. When I start, I like to start in the middle. I start smaller, so I'm gonna make two shapes. They're going to be like little beans that are going to be my center. So they're going to go into each other a little bit. I'm gonna be leaving a little bit of white space, A swell. So one thing you're going to realize, I'm I leave white space when I'm doing outlines. That way it creates a natural highlight, and I do not lose my pedals. So you want to make sure that you don't lose the work that you've done. And a lot of times, what happens is people who paint towards just starting there lines, they touch each other. Things kind of feed into each other, especially with watercolor and it turns into like a big blob. So that's what we want you guys to leave a bit of space, and we can always go back and fill it. So I'm slowly making those curves shapes that we practice those pedal outlines around the middle, and I'm making them larger as I go out. So think small to large. You want to place them a lot of times in between. If they're big enough and they have a small one in front of them, then you can stick it directly behind. But you want to fill the space or fill the gaps. Don't do everyone the same. You want to make some a little bit fatter, some a little bit longer. It keeps it varied, so that way it's more pleasing toe Look at. So I'm just really working my way around, really emphasizing those curves and the point. So you want to create somewhat of a point at the end. You know, you can step back for men and look at it to see Oh, you know, this looks like a little empty. Let me feel a little bit here a little bit there and just notice how, When I'm making it, most of the lines aren't touching each other. Some of them are, but that's OK. But really, I just want you guys to focus on the idea of just keeping a bit of space between it. And if you do touch, it's not a big deal, but more or less like you want to leave that space. That way, when you go back to fill, there is still a highlight. So I've created my base shape right here. I like how it looks. Um, a lot of times I keep adding to it until I really like the shape and that happens. So I'm getting some more paint on my brush and I'm going to start filling. But just notice how I'm filling. Notice how, When I get to the end, there's this tiny white gap again. That's for a highlight. So I'm just filling and just look at that tiny white space that I'm leaving here just between that in the line in front of it. When I get in the middle, I leave a bit of white space, but because it is the middle, the middle is gonna be the darkest point. So when we go back to film or color. If you get a little bit more blotchy in there, it's OK because you want the middle to be the darkest. So I'm switching up to my bigger brush just so that I can go a little bit quicker with that . And then the shapes are getting a little bit bigger as well. So here again, I'm using a bit of the sap green mixed with the hooker's green. It's really a combination of the two here and there. I'd like to just use those two colors interchangeably. Just are trying to get into those gaps. Filling the space and kind of naturally, what happens is when you load your brush up with paint, you start from the center going out. It's going to get lighter because there's going to be less paint, so the outside is gonna be a bit lighter. A lot of times, what happens is like I do that purposefully because I like the contrast when you're painting a succulent or flower, you want there to be a contrast. So that's why I recommend using at least two color tones in a peace because it will really create depth. So just notice how the outside is a little bit lighter than the middle, and it's gonna be even lighter. Once we add that core darkness to the center, you have to be patient when doing this. It takes a little bit of time, especially because there's so many pieces. And that's why you know it's up to you on how big or small you want it to be. So I'm switching back to my smaller brush. I'm adding here. Some of that hooker's green, less water, more paint so it makes it a bit darker, and this is before I add some into go to it. Just it creates a little bit more depth. This is more of a wedding toe wet technique. So I like to make sure that if I'm doing what in toe wet, basically that means the surface that you're painting on is wet before you apply the paint . So if I'm going back to my picture and adding the darker tones, a lot of times I wet it down first with just maybe some water on my brush, and then I add the color and what that does is it? It makes it blend much easier. And just without those harsh lines when it dries. So that's a wet into wet. What into dry is when you're painting directly onto a dry surface, and that's what we started out doing with the small fine line outline. So sometimes I'm like, Hey, I I feel like I need to add another one here so I do that it's not too late as you go. You'll maybe start seeing things that you want to add, and that's perfectly fine. And then you can use your paper towel. If you feel like you've done something a little too dark, just blot it out again. I'm just blotting out a little bit that color. And as you can see, you can see that there's still white space, a little bit of gaps, um, in some of the painting, and that helps separate out the pedals so you can see a difference, and it doesn't turn into a complete blob. So here, out of a little bit of water, because I wanted to lighten it up. So just add some water to my brush and again vibrated it out and adopted with a paper towel . And then there I go again adding more pain, but it's a little bit lighter. So I just felt that that piece was a bit dark for being the outside. Then I'm gonna go in with my end ago, and that's where it's really going to make this thing pop. If you guys don't know into go, is that dark blue like super dark? So you you want to dilute it so that it doesn't look black, But in this case, if it looks a little black, it's okay. So I want to start by applying it to the center, and I'm gonna be using, um, my small brush. And here I'm just wedding it up a little bit. That way it blends nicely like I told you, like that wet into wet. But you don't want it. Stopping otherwise is gonna bleed everywhere. So it's just finding that balance and you'll get it. So I'm using my small brush, and I'm gonna be starting in my center, kind of outlining it a little bit, trying to keep some of that green still showing. You can notice the difference already. Isn't that crazy? And I like to start from the inner corner like working my way out again. I like to keep that green color still apparent even if I'm more towards the court just so that we don't lose all the work that we did, and it gives it more depth. So you're really just filling the space, filling those inner corners with some darkness and notice how it blends out with the wedding toe wet. It kind of has a mind of its own. So I say once you get to the second or third level, um, you wanna start making it a little less dark? You still want some of that blue or into go to come out, but you don't want it as deep as the middle. So basically, you want to make the contrast a little bit less as you go farther out. I just love how when it's in the water or it bleeds out into the wet, it just blends so nicely. So really take advantage of your water. After all, it is watercolor. Just notice how I'm getting a little bit lighter is I'm going out and say it's too dark. I'm pressing it with my towel. Really? Use your papers howl. So you are you starting to notice just how much that added and ago really makes a huge difference. Just see such a contrast between the middle and the outside, just the light versus dark. It creates such a depth. And that's why again, I recommend you using at least two colors here. We used two colors, kind of three, since I mixed the hooker's green and the sap green. And then we went over the middle a little bit more with the darker green. So just just the added tones creates such death. And that just makes your paintings so much more interesting. So it's basically done. At this point. I'm just going in and maybe adding a little bit more depth in certain places in the corners , create a little bit of more variation in it, just to make it a little bit more interesting. But notice how I do keep some of that white in there, and that really helps break up the space. So you have an option. If you like it this way, which is perfectly beautiful, more washy, you can leave it this way or, if you like more of the outline, look or just things to really pop it you then what you can dio is go back and with your indigo on your brush and start creating an outline but a very thin, wispy outline. So you're really not closing off the whole shape. So just notice how it's I'm doing it very like very delicately, more open. You want it to be thin. You wanted to be delicate because you still want to keep that airy feel to it. You don't want to make it so thick. It just becomes an outline. This just helps at a little bit of pop if you like that, which I do. I like both looks, but I'm just showing you two options. This is just more defining, and I'm not worried about hitting the exact ends perfectly or right on the line. I feel like that contributes to it being a little bit more whimsical, so you just want to continue to do this all the way around. So what I like to do is go back and use my small brush with some water and lighting up those lines a little bit. And what I mean by that is make it less of a solid edge. So I'm just taking some water to those lines and making him a little bit a little bit less to find. And I know him said I did them to make them defined. But it is just his balance between being too defined and then just not enough. So I feel like the water helps make it a little bit more light. So I like to have a little bit of fluff, which is the little foliage early believes so, like to make a thin line with my brush and add some leaves to it. The leaves were made by the brush stroke technique that I taught. You guys really just create a different with within the shape you can round it out, making a little bit more pointed, but this just adds a little bit of detail, and here you have your first succulent 5. Monochrome: Indigo Succulent: our next Succulent is more of a side view, and I'm gonna be starting within to go. And really, I'm only going to be using into go throughout the whole piece just different shades. So I like to start with that being that I was telling you about curving into each other in the middle, and then I'm working my way out just slightly, and then down, I'm adding three strokes. It might very depending on how big your succulent is. Then I work my way out using larger strokes to create more of a body. Make sure you create curve. It's very important to create angles. So where you see I'm painting where the succulent screwing down. You want to make sure that you don't ever put a pedal that's directly pointing down it. Will her off your piece. Just always make sure it's at an angle, so now I'm just filling it, creating more of the whole body. I like to use wispy lines or lines that have that variation and them so some thickness, something nous some smaller ones. These were just with all the strokes that we practiced the same idea and concept. Then I make my way up, so I like the top to be the highest point. So the middle top That way it creates a roundness which really makes it more fluffy or feel like it has more body. So I'm really happy with how it looks right now. What I want to do is create a little bit more depth. So I'm taking my small barrage and I'm getting some more into go, but with less water so that it's darker and I'm filling in the core area so more of the middle. But I am still leaving a little bit of that lightness, just like we did with the first piece. And then I'm feeling the pieces that more in the middle tryingto hide some of that white space a little bit because it's pretty gapped and then filling in where it hits the creasing area or the area that folds down that area has a lot of death. You can already notice a difference just with adding a little bit more of the darker shade . Remember to get those corners. Also, don't fill in all of the pedals with the darker color, because then you'll lose your contrast. You can add a few more of the smaller strokes towards the top or around the whole succulent to give it more of a whimsical feel. And once you feel write about it and you feel like it's full enough, then we could move on, adding a little bit more detailed to it. The detail is with the added greenery or leaves, so I make a thin line for my stem and then start applying the leave shapes onto this stem just to create a little extra detail ing. Make it a little bit more interesting and feel a little bit more space and you can do is money as you want, as long as you want. Just always try to balance it. Once you feel like you've added enough, you'll notice that there's a nice balance to it. There's a contrast with the depth, and then you're finished and you'll have a beautiful piece from the side view. So this succulent it was a little less time consuming than the other, because we only use one color and we didn't have to go back and outline it. But I love how it's monochrome. Once the pieces complete, it's OK to go back and look at it once more and maybe feeling a little bit more of the space or Kwik something. You have that power and it just gives it the finishing touch. 6. Wild Colors: Aerial Succulent: for the third and final succulent. We're going to be doing something quite similar to the first. But instead of using the more natural colors, I want to focus on using a little bit more of a quirky color palette. So something a little bit more wild. So here, I'm going to start out with using that'd wash that lime green, and I'm working it into my detail brush. So I'm going to start out with the outline, just like we did with the 1st 1 This time I'm gonna make my petal shapes a little bit longer. But this same technique. So I'm starting in the middle with those little being shapes offset and then making those curved like pedals starting in the middle, I started pretty big. You don't have to start that big, but I'm just gonna be getting bigger and bigger so you can fall along with that or you can start are a little bit smaller. And I'm filling the space just trying to create a balance working my way around again. Remember, I'm leaving white space from leaving a tad bit of space between the outlines. That way, when I go back into Phil you'll see more definition between all the shapes. Remember to really get a nice point and a curve in your line. Really try to refrain from doing any type of triangle. You need curves. I keep going until I feel like it's balanced. And I like the shape. I like some of the outside ones to be a bit longer. I look for gaps, and if I feel like there's too big of a gap than I fill it with a little bit of something, I like how it's angling itself a little bit so you can kind of notice based on the center. How on the right side there's a little bit more to it, so that makes it angle off to the left. So when you have more pedals on your right side or vice versa, the more pedals that are on one side it's gonna be looking like it's facing the opposite side just a little bit. It's just a tad angle to it. So then I'm coming back in with my bigger brush just to fill in the pedals. I'm using my bigger brush because I used a bigger outline, just filling it in with the same color with that same light green. And it's such a wild color, and that's why I really like it. And I encourage you guys toe to use it and explore your colors again. Watch me how I'm keeping the white space. You can always go back and fill. You know some of that in if it's too gapped, but it's better to leave more than less, especially in the beginning. And if you touch something like if you touch an end just like I did or have done, um, it's on a big deal. It's more of the overall definition. Notice how the outside is a little bit lighter again as they go out. The core is going to always be the darkest cause. There's just more going on. Some creates more shadow. Always keep that in mind. You probably comptel by now. I'm not a perfectionist when it comes toe painting, but that's kind of what I love about it. It's more of a freedom for me, so I'm not super super detail oriented about it. I like the imperfections and you'll start toe, realize what you like about it and develop your own style. So I have the base of it outlined. So I'm taking some of my hooker's green, and I'm starting to use a little, just a little bit to create a little more depth, just like I did with the other one, starting in the corners, starting in the middle, working my way out a little bit, making sure I'm using that wet into wet technique. I'm not doing it too much because I'm going to go in with another color. So now I've picked Carmen. You can pick them off if you want, which would be another beautiful color choice. But I'm going to start using that to create my depth just a little bit on top of this one. So start in the middle, worked my way out. Just look out Awesome. Let looks already. It looks wild or exotic, so I'm making it more wet by adding some water. That's why I switched to the bigger brush, and I'm going back to the small rush that way, the pain as some water to bleed into so it creates a better blend. Just working my way out a little bit. It's good to have a nice, solid red on your brush or purple if you are using red like I am. The reason for that is because if it's mixing with the green enough, it will become more brown, so you won't get that really bright color. So now I'm going around adding little ends, read ends to the points, and I'm gonna go back afterwards and kind of blended out. So it's not so harsh. I'm starting my outline a little bit, remember, it's, Ah, nice and whimsical outline thin lines kind of wispy. You don't have to close off. The whole thing leaves it a little bit open. So I'm cleaning my brush off just to add some water to the red that's already been placed that way. I'm blending out the color when I blended out again, it gets rid of you know, the harsher line makes it more soft. I feel like for this one, adding the outline, it just really adds to it. If you remember from the 1st 1 I said it, you know, really is up to you if you want to add the outline because it does look just as beautiful without it. This just gives it a little bit more definition, but I think for this one because it's more of a wild look. Um, adding a little bit more of that red to it just adds to what you're trying toe to show so more of just the exotic colors. It's starting to pop and create more depth and not look so flat. So here I've added kind of an impromptu, no like pedal because I didn't like how that one was going straight to the side. So I wanted to add a contrast. A lot of people think with watercolor. Once you do it, it's done with, like you cannot go back and fix something. But I should get better. You realize that it can be fixed. A lot of things can be fixed. You could add something. You might not be able to subtract as much as you would want. But with your paper towel in your water, you can actually lift out a lot of color. I love how it's just it's getting. Life is just popping off that page. It can seem like a little bit tedious, but it's actually a lot of fun. So here I go again. I'm tryingto mess with this pedal here and kind of rounded out and make it a little bit longer to cover up that curved one that I don't like. So no time layering or, um, the paper towel to pop it out. Pop that color out like I'm just adding a color to it. Look, are just it that I just created a leaf or petal to kind of cover up the other one I didn't like. I'm going back and defining it a little bit. Once you feel like you got to a place where you know it looks really good, you can go back and add a little bit more detail ing with a little bit more of the red to add a little, um, a little shadow, maybe an increased outline, just some final finishing touches. Now I'm gonna add a little bit of the foliage of the leaves to this one, so I just pick a spot where I feel like I can add stem, and because it's pointing more towards the left, I decided to put it on the right side. Then I'm going back in and using that red Teoh out a little little little buds, and they can continue to add more stems where you see fit again. Really. Just think about the balance and what will look good. You just never want to take away from your main piece. The point of the foliage or the greenery is toe. Add more detail and a little bit of filler, but it should never take away from the main spotlight. So there you have it, your third Peace. So it's more of the wild and quirky succulent. 7. Let's Review: Here's a quick overview of what you just learned, so you have the aerial view of the more natural succulent. The colors are more green and some indigo in it. The 2nd 1 was more of a side view. It was more whimsical. We used one color, the indigo, and it's more monochrome. It's a little a bit quicker than the first and 3rd 1 and this 3rd 1 here, similar to the first, but with more wild colors and longer pedals. 8. Final Piece and Being Confident: Hey, eyes. I really hope you enjoyed the video. I love teaching it and, you know, I hope you guys continue with me as a post new videos for the Desert Botanical Siri's. I want to leave you with a few pointers. First of all, never, ever compare yourself to others, especially when you're starting out. You know, through this practice, I want you guys to develop a style, and you'll do that. So just give it time patients, and you'll develop a style that's unique to you. Just never compare. Second of all, I want to show you a way to croupier pieces to create something really lovely that you put on your wall. So when you're grouping in one piece, I really suggest that you do odd numbers. It's just so much more visually appealing. So with that said, you could do something that's larger like that. So one single you focus on the details. This was from the first technique that I showed you, and then here you add extra detailing with a little bit of blood or a little foliage. So you have that you could do one technique supposed to do the second when I taught you, but then you just group a bunch of them together and you create really nice monochrome. Look with this one, or you can just do a variation or combination of all the different ones. Just remember to create some greenery in there as well, and it will tie everything really together increasingly, really beautiful. And lastly, you could do more reef like effect, so more circular shape. And then you can add scene in the middle of whether it's like your favorite saying or whatever you would like. Um, and it could be really beautiful. So I just heard you guys to share your projects. I love senior progress in your work and for this particular video hashtag, puddle, succulents. And I love, love, love to see everything that you're doing. And I encourage you guys to keep aiming. And, um, I hope to talk with you also so keep creating by