Easiest Way to Paint TEN Watercolor Christmas pictures for greeting cards | Olga Koelsch | Skillshare
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Easiest Way to Paint TEN Watercolor Christmas pictures for greeting cards

teacher avatar Olga Koelsch, Watercolor artist and Pattern Designer

Watch this class and thousands more

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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

    • 1.

      Introduction

      0:41

    • 2.

      Materials

      0:59

    • 3.

      Colours

      1:28

    • 4.

      Pine Cone Branch

      4:53

    • 5.

      Cardinal Bird

      8:06

    • 6.

      Christmas Tree

      8:46

    • 7.

      Gifts

      3:52

    • 8.

      Stockings

      2:40

    • 9.

      Green Ornament

      2:44

    • 10.

      Holly Berry

      9:23

    • 11.

      Mistletoe

      6:32

    • 12.

      Snow Globe

      4:53

    • 13.

      Poinsettia

      6:15

    • 14.

      Bonus

      1:57

    • 15.

      Final Thoughts

      0:45

    • 16.

      Join my Membership!

      2:01

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About This Class

Hello friends!

In this watercolor tutorial, I will show you how to paint ten easy Christmas watercolor pictures, which could be a great idea for a Christmas card!

I am breaking these ideas down into some really really basic shapes and strokes, so that everyone can paint them!

Even if this is your first time with watercolour, you will manage! And if you are experienced - I am pretty sure you will find some nice tips and ideas as well!

We will paint a Christmas tree, Snow Globe, Cardinal Bird, POoinsettia, Ornaments, Pine tree branch, Holly Berry, Mistletoe, Gifts, Stockings, 

You could paint your picture on an empty postcard like this  bit.ly/3VfR7Tx or on a plain paper!

I hope you gonna love these lessons as they are quite relaxing and easy and bringing you to a holiday mood. The only thing you need to do - is to put the theory into practice and train your hand in order to have a progress with your painting skills.

As a result of the course you will be able to paint ten different pictures in loose style and apply all the techniques to painting your other ideas.

You could use your favourite suppliers for the course or  follow my list as a guideline.

I am encourage you to share your projects with the others, here on Skillshare, on Social media  to support each other, being more and more confident with bringing your artworks to public!

Let’s connect!

  • Follow me on Instagram - to get more inspiration and a sneak peek on how I turn my paintings into commercial designs and patterns.
  • Follow me on Skillshare - to be notified each time I release a new class. Just click the “follow” button ❤️

Happy painting!

Meet Your Teacher

Teacher Profile Image

Olga Koelsch

Watercolor artist and Pattern Designer

Teacher

 

Hello friends! I am Olga Koelsch,  watercolour artist and pattern designer living in Norway.

I started my art career in traditional botanical illustration but later on I focused on modern watercolour techniques and loose painting as it has more flexibility and have a high commercial demand.

I love intuitive painting, free-hand painting that comes organically but nevertheless based on knowledge of colors, techniques and composition rules.

I create whimsical watercolours in delicate painting style combined with bohemian touch and expressiveness. I am also known for transparent flowers illustrations (or X-ray flowers) which are becoming my personal signature.

Being a full-time artist I run profitable shops on E... See full profile

Level: Beginner

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Transcripts

1. Introduction: Hi friends. I will get Kirsch and welcome back to my studio. In these scores, I'm going to teach you how to ten very easy Christmas illustrations. And they are really super easy. So everyone, everyone put painted. And it will be about Christmas essential things. Christmas tree, birds, Christmas ornaments. So I think you will find a lot of inspiration and ideas. So let's start. 2. Materials: For the project, we will need watercolors, very limited palette, as I describe in the next video, we will need watercolor paper. I prefer cold press paper because it has nice, fine texture. Another cool idea I want to share with you is to buy already pre-made or vertical or cards. So you pay it on one side. And then you could just send it right away as a greeting card as opposed to card. I find this idea amazing and very cool. So I will paint on these paper cards. We will need two brushes. I will recommend you to have two brushes at the beaker and the smaller one. Important that they are both synthetic and have a very nice fine tips. And we will need a paper towel. 3. Colours: We are going to use very minimal, minimalistic palette and mix will be duller green. You see it's very bright green bar to make it a little bit more natural, we will mix it with burnt sienna. And let's see what's happening. That creates really nice Christmases. Bruce. Hello, this trade that will be our main mix, duller green and burnt sienna. All greenery which we are going to paint today. For the red colors. I'm making it very simple. I'm taking permanent red. You could choose any red from your palette. You could always add a hint of burnt sienna in it to make it slightly warmer. And another thing, what we will need in principle, that's our three main colors. Green, red, burnt sienna for all golden elements, branches, etc.. And here and there, I will use ultramarine blue, very diluted, and a drop of neutral tint. That's our basics. 4. Pine Cone Branch: For a branch as a main color, I'm taking burnt sienna. And I mentioned that my branch will grow like this. Maybe with some small branches out. Just let this out. No need to be that a very precise. And take our basic mix, duller green and burnt sienna. Make it rather bold. And then wait, just brush strokes. Very brave and very sharp. Eye. I move my arm, move my wrist very quick. I do not try to make these slow line. It does not really work. To get to imitate this idea of sharps, Bruce. We need to page four, we need to paint in sharp moves. And if sometimes your brush strokes a little bit uneven or maybe a little bit too thick, that doesn't matter. First of all, that creates the volume. Secondly, it creates some variety. And thirdly, very, very, very good practice for your brush stroke skills. So don't skip this. And I think it's much more fun and much more useful when you train your hand nor to inpainting jars, brush strokes, it's boring. But once you put it into some practice, into a real picture, that suddenly get much more interesting, kind of challenging ops, but much more useful for your painting skills. We painted this branch. I would like to add some texture for this branch. And I wash my brush. I grabbed some burnt sienna. I add dotted line wronged or across the main branch to imitate the texture of them. The spruce. And now I'm going to paint a pine cone. I use burnt sienna. And I start to press my brush, just pressing my brush and then let it go. I do not move my brush. I do not make brushstrokes. It just, it's more like a stamping technique. You have to leave whitespace between these steps, between these strokes. That creates the volume of the pine cone imitates the texture. As Firstly, we paint, It's a little bit beside, a little bit around. And then we go to the end for the final code. And our brushstrokes are getting smaller. No need to press your brush, just half of the brush. And that's how you create a smaller brush strokes. And the more you get to the end, the smaller your strokes are. And it's nice to add some smaller details and round. We get a really nice pine cone. Add some top topping for it and hang it on the branch. Always nice to add some darker texture to one side because some are light shines from one direction, which means this part is lighter and this part is darker. This is it. 5. Cardinal Bird: The most Christmas Bird is a cardinal bird. I prepared permanent red. And I start to paint from, from the nose. The bird triangle. Just a triangle. Firstly, I'm outline of the bird, some curvy area. Then these feathers on, on its back. And someday organelles, that diagonal line go down, down, down, down, down, down. But could, you could always correct. And of course, if that's a bit too stressful, challenging to paint like this, you could always draw an outline. But it's kinda fun to paint in this way. Or I mean, without draw when it really free, free, free you and allow you to experiment a little bit more. Around here, should be the wing. I map it out with some brush strokes. You could see, I do not go into the details. I add some variety to brush strokes. Just like this. I imagined. My bird is sitting on a branch, can make it easier. I, I map it out already this bright. With, I always preferred to paint in some dotted line nor to in, in a plain line for some, for some variety. So let's go to the bird on the branch. 1 ft is slightly smaller. Another one is slightly longer. But in principle, you just paint three circles to imitate their heat. And let's map out the beautiful long tail, which goes for on the other side of the branch. So let's leave some area, some space in it. I paint with some pressure on your brush. Just brush strokes. You see 123 brushstrokes, the tail is done. Let's add a few details. I personally, I would like to switch to burnt sienna. Or you could take any black because we are going to paint these dark areas. Eyes. When you paint bird's eyes are the key part. You paint the so-called you'll leave white area of paper around. It should be very sharp, white area. And that's all. That's all what you need. But it's very important to have these white spot in the eye. Let's add some dark texture. I'm going to add a little bit of neutral TDD. So any black for these ornament on the bird? It's just a few tiny details. But they're very, very important. I'm sweet. I switch to the red to permanent squared. And I, with the tip of the brush, I create the texture, the texture. I love to leave a little bit more of whitespace. And to make it nice, I would recommend you always keep in mind how the fetus grows on the bird. You could say so e.g. in the goals in this collection, then they turn a little bit. It's nice if you could just drag out some colors from the dark, odd. Just like this. A little bit more pressure, a little bit less pressure. Arch. That's how you create these nice, fluffy, fluffy feeling. The more you get under the winning, the darker feathers off. From about this area, I start to mix my permanent red with burnt sienna. And you see how it creates the shade. I could even add a few strokes to the tail. Let's page of the wing. The wing color contrast. I would like I want to play it with a bigger brush stroke and more diluted water. I keep my brush a little bit on its side. Move from top to bottom. Just like this. Again, I leave a little bit of whitespace, light area. I add for variety, I add some burnt sienna. And the loss probably see is the nodes. I, I forgot all it really pulled for birds. I just call it very carefully with small little brush strokes and Sultanate with water. So in principle, this is eat. What's missing is some excellent on the branch. Let's paint the branch once again, again with dotted lines, but now try to put the darker lines on the different parts. E.g. here is some missing point. I put some texture here. Always move with some dotted, dotted style. And that creates this wooden texture. For the fit. I am taking neutral tint, same as we took four for this part. And we have small dotted moves. I, I cover, I cover, feed. Our bird. Looks like it feels like I could add few more Brave strokes to the wing. That's what I'm doing now. And now. It's ready. 6. Christmas Tree: For a Christmas tree as a main color, I'm taking a mix of green and a drop of sepia. It's our basic primary mix for all the collection, for all the lessons. And I have my fine brush. I hold my brush about 30 degrees. And I start from the top of the Christmas tree with small, tiny little strokes. I hardly touch the paper. With these small strokes. I shape the tree. And as you could see, I leave quite a lot of whitespace in-between the needles in-between the branches. So later on, I could decorate this tree, decorate, put some ornaments. It's very random. I just keep in mind the primary shape, the basic shape of the tree. And I sometimes paint few branches a bit aside. Make it interesting. And the more I go down, the longer and thicker I'm painting the green brushstrokes. If that's a little bit too complex for you to paint like this, you could outline of the Christmas tree and fill it in with with the greenery. I like to have some variety in the tree. That's why I keep my brush. I move my brush in different directions to make it a little bit more natural, a little bit more messy. I was looking for a word, but I think Missy would describe it. Nice. So I keep in mind some Christmas tree which was decorated with kids and it's always a little bit chaotic. So that's what my goal to show. I want to put that Christmas tree in a port. You could do the same or just leave it like this report. I take our burnt sienna. First of all, I outline the port. I think it could be something like this. I just paint some outline. And with some pressure on the tip of the brush, I paint these top top line. It's the most dark part because it's in the shade of the tree. And I have in mind some bot hostile or ikea style boats. Like handmade. Fourths, Very, very cool, roughly equal cozy. Crucially, how it says here, no very cozy, cozy things. So how I create the texture, I'll just move on. Wavy my brush and I leave quite a lot of space. So the bot is ready. Let's come to the fun part to decorate the tree. For decoration, you could choose any color you like. I think I would stick with red, this with permanent red and might, I might add some burnt sienna. It's pretty fun. You just find some white spots, paint, circle, leave some white area around because that's where the light comes. Just fill everything in. More and more and more. That's very important to leave this white area. Because usually our ornaments, they are glossy and this texture has very sharp borders between light area and shady area and dark area. That's how we create this feeling. It's as we painted relatively small, relatively little for a postcards. No need to go much into the details. Uhs. Have fun and maintenance. You decorate a real tree. So there is always some variety, some, some difference. Try not to be too symmetrical, not to bring the same ornaments to the other side. As I said, for the variety, I would like to paint few ornaments in burnt sienna color. First, I will paint some balls, mobiles in the same principle as I did with red ones. And maybe later on I add some Golan garland around. It's could be a nice trick when you somehow hang your bubbles under the, under the branches. You just need to paint not the whole so-called about, about half of the circle. And if that feels a bit too dark, wash your brush, dry your brush with a paper towel, and remove the extra color. And your brush will work as a sponge. It just removes all unnecessary color and you get very pleasant bot, hostile bubbles, declarations. Of course. You could decorate your tree with different ornaments. You could put some stars on the tree. You could put some lawn shaped details, e.g. let's paint something. How you call it, Let's paint something long. And to paint this type of decoration, you just paint a few brush strokes and then connect them, outline them. This is it. For the final touch. I would like with a permanent red, I would like to put some Garland. It's in principle, it's just draws. And as usually we can Garland in this spiral style, it's nice to follow that idea, to keep that idea in mind and hand your Garland a little bit in a spiral way. Just like this. And of course, if you think your tree is a little bit too much whitespace is in the tree. You could fill in some gaps and add few more details. And now, our cutest ever Christmas tree is ready. 7. Gifts: Let's paint gift boxes. I want to paint a small pyramid with gift boxes. First, I just outline the boxes. The first one, I wash my brush, I dry my brush with a paper towel. And I go along the edges. Just soften the edges. And I distribute a little bit the color from this hotline inside my painting. The only one moment where I would like to go for the second time. These border between the lead and the box, because usually the lead creates a big shade. All the box itself. Let's put a green box on the top. It's our mix of green and a drop of burnt sienna. Page. The second box, a bit smaller in vitro for different shape. In Wave with the lead. I like to paint these leaves. This term, I will paint the gift box with some diagonal texture, like a gift wrap. And it will create a nice contrast. We've read and relatively soft bottom box. Now we have something, something very ornamental, geometrical. And on the very top, I, I'm thinking I do paint, just some nice mix of red and green on the top. Let's first paint an outline. And I allow my watercolor mix. That's how I like to paint this box. I would like to decorate wave, silky red band on it. So to paint it, I just paint brush, brush stroke. The tip of the brush eigenvector little bit to make it look. Even. I want to change that lead. I step a little side, so I'm not painting these line right in there because that creates some uneven. It catches the eye. Let's paint. Let's paint. On the top. Nice, big written, very festive. One. Top side should be narrow. And for the bottom side waned, a big bold. Brush strokes. Like this. 8. Stockings: Let's paint a stocking first. Outline. Should not be too complex. And the upper part, I would suggest that we imitate the new team texture and how I do it. I just paid with random small brush strokes. And that's how I imitate these, the return of Scandinavia ornaments. This is pretty, pretty easy, this technique, but it brings to a lovely results. It also could be imitating the floor if you make the strokes a little bit tinier. Now, you just by inch, thick brush stroke. Most your garage. Dry your brush on your paper towel and soften the edges and just let your watercolor. It feels like you drag out the color from the color in parts down. Of course, the bottom part of the stalking is more dork because it's the light shines from top to bottom. That's why I take more of permanent red and just go along the bottom edge and let watercolor distribute by itself. You could stop right here. But if you want to add some, some special touch, you could paint a small her tree. Getting out of this stocking. Chance like this. Isn't this cute? These small candy? No need to go too much into details. Some summary here is just now. 9. Green Ornament: Let's paint a nice ornament, a nice glass toy. Paint outlines. I want to make into in this shape, but of course, the same principal goals to any shapes you are going to paint. I've washed my brush. I go along the edges and sometimes I leave gaps, are just white paper. These very sharp and not soft edges, which is very good for, for bringing the idea of glossy texture. Glossy texture usually creates this very bright contrast between light and dark parts. I want to put inside these ornament. Extra decoration. I poured small dot. I paint strokes from, from it. It reminds me some vintage or ornaments which we had in my childhood on the Christmas tree. And that's how you create, recreate this idea. Let's change the handbook. Outlines and few tiny strokes and with dotted line thing in part. In Part. Of course, you could always add a little bit more contrast if you Mike e.g. to the bottom part, it's usually the darker spot of glass. Glass shapes. You could go with a very bold mixed, not watery, it's important, but with bold, more dry mix, you could even go right directly to your palette along the edge. And that's how you add more contrast to the page. 10. Holly Berry: To paint it, to bind holy, I prepare mix of green and drop or burnt sienna. Make it more Christmas and more warm, a little bit warmer. I imagine that my branch will have pre release with red berries inside. I keep this in mind and I start to paint leaves with the middle. Why? I map out the middle wine. And with the tip of the brush, I paint these outline. Imitating holy, holy leads. Try to be a symmetrical. As I always recommend. Make all these sites uneven. And now I've washed my brush. I dry my brush with a paper towel a little bit, and I go along the edges and drag out the color down. You see sometimes these edges watery and they greens more of color into the leaf. Sometimes H's are already dry. And that's also nice because it all creates these watercolors special. Right here. It's nice to paint relatively quickly when you paint with watercolor because you have a very small window. When watercolor is wet, and that allows you to create more. With some practice, it will be easier and easier, easier. And while the paper is still wet, I grab some green color. Just go along the edges and add darker shades lot to everywhere. As you could see. In some areas. I always try to be all are symmetrical and add variety. So first leaf is done. I'm going to paint the second leaf and I will leave some space for the red berries. Let's repeat this leaf. We'll look down. I first map out the middle by, I create these nice for leaves. It's really fun to paint. Because you could really, you could create your own shape at your own variety, your own region to each and every leaf. The only thing you need to do is follow the main principles of the shape, like sharp edges or certain very sudden middle wide. And of course colors. Let's grab a drop of green color of our green mix and add to them a little bit, little bit along the way. Right now, I would like to speech to buries. It could work both ways. Either you paid three leaves and then varies, or you start with berries. But I want to show you some, some ways when watercolor mixes, when different colors and mixing and how to paint berries, always leave white area on the top of berry because it's where the sunlight reflects from the surface. And these sport is very important. It brings a feeling of glossy texture. Let's do that again. A diagonal. Repeat what I was doing now. So I am outline the Burry. I leave white sport. I paint around. I feel in this fight their way around. I've washed my brush. I dry my brush with a paper towel. And now my brush works as a sponge. I remove a little bit of color from the battery, and that creates the volume of the battery. I'm always nice to paint some uneven amount. So let's repeat the very, the very thin outline, the circle, map out the white sport. You could leave more than just one sport. You could e.g. leave some white area between or on the opposite side of barely. Wash your brush, dry brush with a paper towel, and remove red color. Let's paint. I think one more berry would be nice, which is hidden under, underneath everything. And any way I leave some white sport, although it's even under in all the shade, that it really brings the idea of where you, an idea of round glossy shape or walking position. What's also nice to practice is to paint with different shades. Even if you paint from the same color, from the same palette. E.g. this bottom, bottom, bottom, bottom Barry. I will paint in very bold, permanent tread without diluting the column. And you see what's happening. First of all, we get the feeling of different shades. And secondly, just some variety. Little bit outline, some details. Let's paint the fraud leaf. I switch to the big applause for me, it's more convenient to paint leaves we, with a thicker brush and this leaf will be underneath this group of Purvis. So I mentioned that it goes like this. The middle line is probably hear the sharp point. So it starts relatively thick already. So I'm not bringing these two strokes in one angle in one point. I let them go under. I worked, I brush and I go and soften the edges. It's dragging out the color down to the leaf. If you feel it's a little bit watery. Remove the excess water from your brush. On paper towel. Leave white areas, get bold green color. Add it to the dots and to these shady area. The more sharply you create the H's, the more it looks like. Nice. Holy tree. The last thing I would like to be neutral tint the top. So just like this, this is, it. 11. Mistletoe: I would like to hang missile toll on the band, on the silky band. But firstly, I'm painting all these group of muscle tone branches together. I start with the tip of the brush and I paint the stems. I bring them all to one point. And from this point with the tip of a brush, it's about 30 degrees to the paper. I playing some curvy lines. Right now, I'm just mapping out how my mistletoe composition, mistletoe Bu care will hang. It's important that you keep in mind the shape of the whole group. No need. If you, if you paint from some reference, no need to paint each and every branch. You just need to catch the idea of how it grows. But usually it's some C shape. And everything comes a little bit to this logical end here. Now, Let's paint leaves. Patient leaves. It's very fun. I put my brush on a cheap to some place at some pressure. And I really, some pressure to the other direction. I add some pressure are really some pressure. The more you move your brush around in different directions, the more interesting and make sure your brush will look like. You would try to page not from the branch to the edge, barred from the edge to the branch. And that also that creates the variety. What we're looking for is some variety in all the elements. So it's completely fine to move your head in different directions. Try to paint leaves in different directions. What's important that you remember that they came, they attached to the branches and they all look a little bit down. So that should be the mood of the whole group. They could intercept the leaves. They could, we could see more edge of the leaf. You could see it flat. We could see the side of the leaf. So it's really quite relaxing theat range. Again, if you paint from, from reference, try not to, not to paint everything. Just find or just might find a really nice leaves, catch them and paint. Just with a freehand. I think this is enough with leaves. Let's add some berries. Berries are white. And how we're going to paint white, which has paint with gray. And for gray, I mix a bit of green with a bit of red. And that's how it creates these grayish texture. Very diluted. We are not going too much into details. And with the tip of the brush, I just paint some circles and shades in this so-called circle and shade on one side. The only important thing here is to play and shades on one side. In my case, it's on the right side. Because I mentioned that wide columns from the left or the lighter area is on the left. That's why I always imbalance. That's a big mistake. When you somehow, you forget about this shape things and shady area in different ways, in different directions that really strike the eye. No need to paint too much. I think that's enough to imitate the feeling of real mistletoe. Let's paint red, nice band on the top. Just for my own thread. I mentioned that my band folklore comes up. I live. I start to paint it like a paint leaf, tip of the brush, some pressure, less pressure. That's half of the band. And again, less pressure, more pressure. And connect everything. One more. On this side, try to avoid being too symmetrical. As I tried to remind you, one side, you could come back from top to bottom, and in other side, the more curvy you painted, the nicer sound. Band could go long. The leaves, just like this, with something on the greenery, but it feels like I could add a little bit more thickness to the band itself. 12. Snow Globe: Let's paint a snow globe. You could use any round to outline to help to offline it. Then we were trembling blue with a tip of the brush. I paint these watery all fly around all the so-called. Then I wash my brush and I go again alone. The edges with the belly of the brush soften the edges. I just sleep very white area on the very top because it will be the place where the light goes and it creates this reflection. And now I'm painting a wintry landscape inside, one, here and another. He'll try to paint them slightly different at some variety and add some shades inside. While it's all. Draw when drives file, That's all drying. Let's paint the bottom. This nice autumn golden rod with burnt sienna. I paint one screw symmetry in another stroke. And I connect them with some roundish shape and try to avoid the straight line. It's not that nice. And that's now comes your imagination because you could either imitate one of snow globes you have at home or create some ornament, ornament by yourself. I would suggest to, first of all, to vary the thickness of your brush strokes to make it more intriguing, to make it different from row to row. And that's how you feel. Then area of the globe. I paint them upper part on the top of our snow globe. I try to add some design and texture on these area. The more different brush strokes you have, the more interesting it gets. Or you could hope, e.g. wait until the circle part is completely dried. If you do not like these too much bleeding. For me, I like the feeling of vivid watercolor. I'm checking how it is inside. Inside it's okay. I would like to paint a Christmas tree. Inside. I'm making and I would like my Christmas tree be about here. We've small, tiny brush strokes. I am painting a tree. I leave a lot of white area between the green brushstrokes because that's how you get the feeling of snow on the branches, the snow on the tree. So please be careful and do not paint the tree in one branch. It's very important to leave a lot of white areas. And my tree is hidden behind the front heel. So I'm not painting branches here, but I'm painting quite a lot on the right side. And that's how my tree and my globe are looking now. 13. Poinsettia: For painting process, I take permanent red. I find the middle part. And I start, I keep my brush about 30 degrees to the paper. And Firstly, I paint the middle was a TIA. Usually it has some modes, not noted looking middle. So I create this. And then I place my brush in one of the dots. I press on the brush on the ballots abroad. And then I release the pressure. And that's how I create these four said TEA leaves. And once again, it's nice when they are little bit different. And then when they are overlapping. To add variety, you could wiggle a little bit to your brush. Let's, let, let me show you. You put your brush, press a little bit and then move e.g. to the right a little bit to the right and then release the pressure. And that's how you create these movement in the petals. Vehicle, vehicle a little bit the brush and release the pressure. Try to be not symmetrical. Try to add some variety. The more variety and the more curvy lines you have, the more interesting and unique your flower will be. Another advice. Now, we're getting to an convenient part. Let's say if you are left-handed, it probably will be the opposite side. It's very tempting to turn the paper and that's okay. But I'm encouraging you to move your wrist around. Why? Because that creates on E1 and unsymmetrical brush strokes. You could try it in different flowers and indifferent papers and you will see how it changed. It really changed a lot when you are either move your wrist or your paper. So we have pretty lovely flower already. I would like now to make my mix a little bit bolder, just a little bit bolder. I'm going to paint the second layer. I put my brush in-between these two petals. And in principle, I paint the same. I add some pressure on my brush. I released add pressure, released the pressure. At pressure. Release the pressure. If you feel like it's too big gap, you could add more petals or the bottom side. It's nice if you manage to get the second layer slightly darker. Because the second layer, it's underneath your the first layer of flowers and under the shade of a please upper layer. That will look very natural. And I'm not happy with this shape, so I'm just fixing it with the tip of the brush. I correct the shape. I might add one more petal about here. Another thing you could try. You could try instead of going from e1 out, you could go from out of the floor back to the middle. For me, it looks a little bit weird, but sometimes it's when do you go to correct the shape with the tip of the plant? And try to add, always try to add variety to the petals, to the leaves. Just like this. Now, let's paint some doted some strokes inside the flower to imitate these stamens. Let's add some greenery. And taking our primary mix, basic mix of olive green and burnt sienna. And once it leaves, they have the same shape as the flower. I think it's not nice. So with paint them in the same, in the same manner, maybe try to go from top to bottom. I like more brushstrokes when they goes from this direction from center to aside. I think that makes them a little bit more. But I think it really depends on how you organize it, what's convenient for you. As a small, tiny little details, I think it would be nice to just the small simple brushstrokes. Nothing extraordinary. But somehow it brings air into our warm up, our composition. Don't overdo it. And dark green spots in the middle and our porosity is ready. 14. Bonus: I'm going to show you a very cool way to paint Christmas bubbles. Take a round glass cup, anything with round age and color, the edge we've watercolor, it should be not too diluted. Rather creamy. Don't be greedy. That should be a nice amount for everything. Nice mode of color. Then turn your glass, press it on the paper. Remove. Wash your brush, and then go along the edges of these nice circle. And allow watercolor flow, ie two inside the bowl. Help it a little bit to distribute. It's nice if you leave some white areas. Just like this. Let it be a very random. So like watercolor flows, like it finds its way. Maybe add a few more color drops, especially in the bottom area. And I love this way of painting because it allows you to paint perfectly round circle and to finish it just few lines for the top and a dotted line which will imitate the thread. And this is it. 15. Final Thoughts: Thank you so much for being with me on these scores for painting with me. I'm looking forward for your feedback. Which illustration boards the most easier for you or the most challenging for you? What you would like to pay next. And I encourage you to give it a try to put all the theory into practice. And secondly, share your results with others on Skillshare or your social media. It's very important. It is essential part to feel confident as an artist. Have a great day and Merry Christmas, Bye bye. 16. Join my Membership!: Hi friends, I'm going to be killed. And I welcome you to joy, to my membership. I know that we all somehow at different stages of our painting skills and that's fine because I split my membership classes, my membership offers into sudden bundles. And you could start either from the very, very basic steps and then short-time get to another step and then to another step. And as my favorite thing, we could paint together complex botanical illustrations or loose floral compositions. It, somehow, it takes time to realize what you're more into, either into loose painting or some more precise painting, it's okay to give yourself a try. And another thing I would like to stress out that most of my classes, you could stop at any moment, e.g. when a baby cries or dog needs to go out. So really at any moment and heavy, just 15 min daily practice. Good. Bring you into really nice progress with watercolor painting, withdrawal away, anything basically. So I invite you to try out free classes, to try out churn membership, e.g. for a month and feel how how does it feel here. So I hope you will like it and we could make, we could create a really nice together. I hope I see you there. Bye bye.