Conquer Your Fear of the Blank Page: 4 Watercolor Exercises I Swear By | Peggy Dean | Skillshare
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Conquer Your Fear of the Blank Page: 4 Watercolor Exercises I Swear By

teacher avatar Peggy Dean, Top Teacher | The Pigeon Letters

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 to Creative Exploration

      1:57

    • 2.

      Start a Creative Ritual

      2:28

    • 3.

      Materials

      2:50

    • 4.

      Break the Ice

      7:42

    • 5.

      Abstract Mark Making

      8:49

    • 6.

      Less Can Be More

      10:24

    • 7.

      Layered Cascading Leaves

      16:10

    • 8.

      Your Class Project

      1:58

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About This Class

You're probably familiar with know feeling of staring at a blank page. You want to create something. You want to so bad that you even feel pressure to, but your mind is like crickets. You just stare at the page and if you ever get around to painting/drawing/etc. it's just meh. So here's the thing...

This happens to every single one of us (myself included)! I broke the ice one day and since then, I've never had a problem when I've faced the blank page. And it is all due to a simple exercise/ritual/practice that I do each time I sit down to create something.

Welcome to a meaningful and intentional class that gives you creative permission to play with watercolor paint anytime the urge kicks in.

As somebody with a very busy mind (I'm sure many of you can relate, as creative people often do), I believe this class will deeply resonate and help ground you in continuing to develop your art practice. It's so easy to put pressure on ourselves and I want to help you quiet racing thoughts and release expectations.

This class is going to help you break through some of the walls you're met with each and every day, just by infusing a few exercises into your creative practice. These are exercises that I personally visit nearly every time I sit down to paint something and it's because it conquers the blank page. You don't have anything standing in your way and the blank paper is no longer intimidating. I know that at least one of these exercises will organically become a part of your process if you work along with me and feel the benefits of letting go.

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Meet Your Teacher

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Peggy Dean

Top Teacher | The Pigeon Letters

Top Teacher

Snag your free 50-page workbook right here!

Hey hey! I'm Peggy.

I'm native to the Pacific Northwest and I love all things creative. From a young age I was dipping everything I could into the arts. I've dabbled in quite an abundance of varieties, such as ballet, fire dancing, crafting, graphic design, traditional calligraphy, hand lettering, painting with acrylics and watercolors, illustrating, creative writing, jazz, you name it. If it's something involving being artistic, I've probably cycled through it a time or two (or 700). I'm thrilled to be sharing them with you!

Visit my Instagram for daily inspiration: @thepigeonletters, and head over to my blog for more goodies curated just for youuuu.


I'm the author of the best selling... See full profile

Level: Beginner

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Transcripts

1. Introduction to Creative Exploration: Hello, there We are about to step into a very meaningful and intentional space as somebody with a very busy mind, which I'm sure that a lot of us can relate to as creative people. I believe this is going to deeply resonate. It can be really easy to put pressure on ourselves, especially in the society and day and age that we live in. And I want to help you quiet those racing thoughts. I want to help you release that pressure. In this class, you are going to be able to really break through some of those walls that you're met with each and every day. Just by infusing a few exercises into your creative practice. These exercises are some that I personally visit almost every time that I sit down to create anything. And it's because it conquers a blank page. You don't have any sort of holdup when you look at one and it's no longer intimidating. I'm really excited for you for that. I know that one of these things will insert itself into your regular creative practice too. I'm Peggy Dean and I am an artist and author and most importantly an educator. That is where my heart lies. There's nothing in the world that brings me more joy than being able to facilitate this. Other people who are passionate, creative. In this class, you are going to immediately conquered the blank page and you're going to create a story simply by pulling from the exercises that we will be doing together. When I first began and fusing these creative practices right into my projects beforehand, I felt that at the end I was much more proud of the results. I felt empowered. I felt excited about it and all in all, just more grounded and a lot more relaxed. So I want that for you. So let's conquer this blank page. 2. Start a Creative Ritual: So excited that we will be spending some time together in this class, I really want to extend a warm welcome to you as we set our intention for what we're about to cover. Now, I am very affected by my surroundings, which I'm sure that a lot of us are. And what is out of my sight is out of my sight. But what is right here with me is going to affect the energy that's infused into my creative process. So for that reason, I really like to set up, for lack of better words like a creative ritual where I bring in items, smells, anything that's going to really make me feel grounded and more connected. And this can take form in a lot of different ways. It might be lighting a candle with your favorite smell. I am lighting some handmade taper candles that will be in brass holders. And for me that leaves a little bit of mystery, but also elegance to Myspace. That's how I'm feeling from it, but it's also still grounding with its organic handmade properties. I do this with T having a nice comforting black tea. What I love to do, I love Powell soothing it is to have a warm hug. The other thing that I love so much is to bring in birth. I have a ton of plans that are surrounding me everywhere. And sometimes that takes the form of actually painting with earth pigments. Today that is going to be taking form in, bringing in some found in nature items that bring me a lot of joy. Maybe that special item to you is a vintage piece that came from a relative or maybe it's your favorite book, something that you can have nearby that just brings you connect. This could be in sound and maybe you open a window and hear the birds sing. Maybe you turn on some relaxing music. This could be a perfect time to go outside and be in the elements. So before we get started into our lessons, I want you to take a moment and find something to add to your space that is going to really enhance your experience. When that's in place, we are ready to go. 3. Materials: Alright, let's look at materials for this class. We will be painting with watercolors. So you do need watercolors. Now, the first thing I want to say about that is that I know that it's really easy to get hung up on following along to a T, but I don't want you to do that in this class. And the reason for that is because I want this to pull from the vibe that you feel today. So for me, I feel really connected to Earth colors. So I'm going to be bringing in some greens and some ochres and maybe some browns and reds of some kind. You might feel a lot more fluid and connected to the ocean or the sky and in that free space. So maybe you will integrate some blues and teal. Maybe you're feeling playful yet soft and you want to play with pinks and blush tones. Maybe lavender is whatever was calling to you. That's what I really want you to focus on as we explore these projects. Now when it comes to paint brushes, you can use any type of paintbrush that you want. I'm going to primarily stick to a round number eight and around number four or six, we'll see, I love these brushes because they give you the ability to go both broad stroke and very thin stroke because of their pointed tip. Now you can also go and use a flat brush. Those are also a lot of fun because you can really get a lot of coverage with them. So while we will be walking through specific exercises, you can absolutely apply them in different ways that you feel called to. I probably won't be using a wash a wash brush, but use what you feel like using. You'll also want a jar of water. If you want to get real fancy, you can have two jars, one for cool colors and one for warm colors. What that will do is allow you to rinse your brush, warm colors and warm and cool colors and cool to prevent having to constantly change your water, you're still going to have to change your water quite a bit with what we're doing. But it will decrease the amount of times that you'll need to because it won't blend the warm and cool tones together to create mud. Lastly, you'll just need watercolor paper. I'm using a sketchbook. It's not my favorite one. I ran out of my favourite one. So I'm not going to tell you which one it is, but I will tell you that my absolute favorite is the Strathmore series. I love that it has this soft cover that ends up bringing along all of the story and all the dense and basically everything in your bag or something you've sat on it. It just tells its story right on the cover. And I think that that's really special. Because everywhere you went and everything you did during the time that you use that sketch book is captured here in texture. I think that's pretty cool. That's all we need to get started. So I promise you now it's go time. 4. Break the Ice: In this lesson, we are going to be crushing the idea that limited time is not enough time to be creative. This particular exercise allows you to really understand your paint, the pigment, special qualities to it, and how it interacts with other pigments and even water alone. One of my favorite exercises stemmed from a day that I really wanted to be creative and had no idea what to create. And I ended up using two colors and just swatch them down a page. Halfway through, I ended up taking this really shaky video of it. Ever since I have found that I create these kinds of swatches all the time now for multiple reasons. First of all, I think it helps me unlock my creativity a bit more in the sense that I'm doing something mindless and allowing myself to play. And when that starts, it's like opening the door to what's going to come next without even really thinking about it. So that's how we're going to start. And the first thing I want to recommend is choosing an isolated color palette. While I will be using particular colors, they are not necessary to follow along with. I really want to encourage you to draw the colors that you're feeling today. I think that's a really important part of the mindfulness process. For example, I'm feeling very earthy and very grounded today. And so I'll be working with a lot of greens and browns, ochres. But you might be feeling connected to water and the sky. And you have a lot of blue and calming presence today. So maybe you'll be working with blues and lavender is. So please don't get hung up with particular colors that I'm using. I love color, but when I started actually being really intentional with the color choices that I was Selecting, I just loved my work so much more, even if they are just swatches. I'm really drawn to these earthy colors as we have established. And so I'm going to stick with them. And this is going to look like a nice beige or cream or tan with some greens, with maybe some ochres, some golden yellows, and maybe a punch of like a potter's pink color. What I'm focusing on here as having a decent amount of paint and water on my brush and simply painting a single stroke on my page. While that is still wet, I grab another color. I paint right next to it to where it does make contact. That could be in the middle of the stroke. It could be at the top or the bottom or both, or the whole way down. And I'm just letting my paint flow. It's going to bleed into each other. Some areas may get muddy. Some areas might be almost flooded with color or too much water or really anything. And what we are doing is we're releasing any expectations and we're just allowing ourselves to play. As we do this, we start to harmonize and our minds, and we start to see patterns that pop up without even thinking about it. And then we think, oh, well, I want to add balance. I'm going to bring this color over to this side, or I'm going to jump down below where I'm painting and I'm going to put some balance. And right here, for example, I am painting these strokes underneath because I see that my strokes are about to dry and I want there to be some bleed in-between the top and the bottom as well. So I don't need to do that the whole way through what I can do it to where I kinda jump around my page a little bit to keep that generosity of water and paint flowing throughout. As we progress through this course, we will be going over plenty of little odds and ends and tidbits and all the little terms that you can use to add little details and interests. But this first lesson, I just really want us to focus on being present and enjoying this process. So I am going to allow some space for that. So feel free to paint along with me as we fill up this entire page. 5. Abstract Mark Making: There are a few different concepts that we can run with in this lesson. And we'll do a quick example first of each one. Basically we'll start off with a larger shape and then bring that into, simplify it a bit. But I wanted to give you both options because it can be really fun to do essentially what we just did with swatching, but keep them in smaller shapes and then work within those shapes. It will require you to work fast, as I'm sure, you know, based off of what we just did. Because not only are you putting these shapes down, but you're also working inside of them. That said there are a lot less of them. So it's not something that you need to really overthink, but we'll jump into it. And I encourage you to continue to explore past this lesson with this technique. I'm going to keep this off to the side so that we can use it as reference. Both of these, we'll start here. The first thing that I want to do is to create a shape. I'm actually going to move over to this side, okay? So I'm going to create a shape and I want to really make sure that my brush is full of water. So I'm taking my water and putting my brush in and rolling it on its side so that it's nice and moist. And I'm just going to paint with water. Just a circle. And that might be hard for you to see, but you just want to make sure that you have that Shean. When you pick up your paper at an angle, you'll be able to see that for yourself. You don't want it possibly, but you want to have that Xin. Now I can start to add some water. And what I like about doing this way is that because you're just working with a slight sheen. It's not unless you add enough pigment, it's not going to cover everything. It's going to leave a lot of this open space. So I'm going to choose a color and feeling green today as we know. And I'm just going to go along the edges here and allow that to start to bleed. I go along. There we go. And remember that while it might seem tempting to push it right away, wait until it starts to do its thing. And then you can always go back in and give it a little encouragement. I'm just going to let that sit for a second. This is where I would start to build everything up before I start adding those additional marks. So we can do another one of those so that we can see how that plays together. And I'm just going to do another circle next to it. I'm not going to have it touched yet until I am ready. I'm going to drop another green in. Just along the edges. I'm going to grab a different shade. Couple of different shades just to keep things interesting. Okay. And then when that's done, you see how it's starting to bleed now as it's the sheen has kinda starting to dry. So I'm actually going to bring that in now and connect the two before it dries completely and then allow that to make its little magic. I'm just it was a little too dry, so I'm just going to work it back to life. There we go. Alright. Now that that's done, I have a little bit of pooling right here and that's because the opposite side of my page made it so that this warped a little bit. Which is why I'm using this page as my practice page. If that happens, I can just kinda tilt it a little bit so that it spreads to where I want it to go. Or in this case, I am making it so it's not stuck in a pool. I could also use less water. But that said, I'm going to start to add little marks. And so black is one of my favorites to add, or even a dark brown. I'm just going to grab a dark color here. And I'm just going to set my brush down in certain areas that I know for sure I have a sheen so I'm I don't want to set it where it's partially I just want to set it to where it has a sheen to it. So for example, if I set it right here, it's going to start to bleed. You see this gene right here starts to bleed and I'm going to continue doing this. You'll notice that the wetter it is, the more it will start to bloom out. Whereas as it starts to get dry, well, that's too dry right there. But as it starts to get dry, I'm just going to wet this area so that it starts to spread out. It won't spread as much in those dry areas unless you have a ton of water on your brush to re-wet that area. But that's Flynn. I like to let this part dry for a bit and then I'll go back in and just around it. I can add a few more. See how right here, it's totally dry, which I'm fine with because I think that that's pretty too. But I think that it adds a lot of interests to have that bloom. I'm going to continue doing that in areas that I know are still just a little bit wet. I can even if I wanted to, I could just drag it down. Along the whole side to see the effects that it creates. I can go along the edge and just barely touch those two marks and see how it's caught the water right here. So I barely touch it and it starts to pull. That's just going to add some more interests to. Then when I get mostly dry or all the way dry, I can add little marks like this. This was added when it was mostly dry so you can see a little bit of blooming. But for the most part it's really isolated. I'm gonna do that with a dark, dark green. I'm going to make sure that it's a spot that is a little tiny bit wet. Hopefully this works out to my benefit. Okay. That's more than a tiny bit wet. It's also not a dark green. I grabbed the wrong color, but I actually like it. So I'm going to add to it. I'm going to add more of that. Why not? Happy little accident. Okay. Okay. So now I'm going to let that dry a lot more and then I'll add that deep green in. So this is pretty dry right here. It may or may not. But either way, just doing little marks like this is going to look really pretty. So some of this area might bloom a little bit and some of it might not. And that's okay. This one I know that I added water a little after. It's probably going to bleed quite a bit more. Yep. It's not quite ready right there, but let's try over on this part. Yeah, we have some blooming happening and some parts where it's not so much. So that's gonna be really interesting to see. It grabbed some and not others. It almost looks like this little cluster kinda took off. I'm holding my paper like this so that I can see where it's shiny and when it's where it's not. But yeah, that adds for some really great interests. This one is pretty dry all the way through. I'm not going to probably not going to see a lot of blooming on that one. But that's also part of the experimentation that just makes it really fun. Okay, so now that, that part is done, Let's talk about different types of mark-making that you can do within these. Obviously, you can set these down for colors and work with a limited color palette, but you can also do the same thing and apply it to something much smaller scale. That's what we will be covering in the next lesson. For now, go ahead and complete a page of these larger ovals. And remember to keep your experimentation hat on. I recommend doing nine on a page, so three across three down and just see where it takes you. 6. Less Can Be More: Now we're going to move into smaller versions of what we just did. These are simplified versions, but while they are simplified, they actually add so much interests because of the way that they're laid out on the page, do small techniques within each one. And what I like to do with color is play with something that's either like on the analogous spectrum. So basically colors that are really close to each other on the color wheel or a complete opposites. The thing about that though, is when you start to layer opposites, it turns into the mud color. It's like brown because it neutralizes the color. I would recommend doing something more on the analogous spectrum, or monochromatic would be really pretty because you can also build up watercolor just by transparencies. So I'm in agreement. We're going green for me. I'm going to grab a smaller brush. So I'm going to now be using around six before I was using around eight. And this is just going to allow for finer points for. So when I want to make these little marks like this, I mean, obviously I can make them with the eight, but this is going to make it a little bit easier for me. So I know this is still wet and I'm doing a big no-no by setting this down, but that's okay. Alright, so to start these, you can see that these swatches are playful. So I have some that have whitespace. I've got some that are misshapen. I've got some that are more perfectly circle, that's not perfect, but you get what I'm saying. So what I'm gonna do is first, the first thing I'll try is I will lay down some water and that's it. And then I'll lay down a color. So I'm going to grab a green that I know isn't like hyper pigmented, but it's going to grab the wrong when a guy so many greens in my palette. That's all I'm gonna do and I'm going to allow that to kinda spread. The second one I'm going to do is just color it in like this. Then the next one, I'm going to be a little more deliberate. And I'm just going to do like 123 strokes and they're not perfect. That's really light. So I'll show you with more color. I don't want to put too much color in, but basically it connects these two areas and then it just has one that's a little bit, or it has a little stroke that's a little bit lower. And it just makes it playful. I'll do the same thing that I just did here with water. But this time I'm going to just do a scribble and note that each time I'm getting my brush wet, again, I'm going to pick my secondary color here. Obviously this is not analogous color because this is like a peachy beige color. But I know that it's going to is this. I know that it's going to want to pick that up. There we go. Complement everything else. So it's not going to detract from it or blend wrong or anything. Then I'll do another one where I pick up. Actually I'm going to have to start getting started on these because this one dried. So I'm just gonna go over the whole thing again to make sure that I have it covered and it's wet. And then I'll look at this Sheen. This one's perfect for those little dots that I drop in like this. So I'm going to grab the exact same pigment that I had. And then I'm going to just set it down and make some dots that are going to bloom out but not like fully. And then I'll put maybe two over here. So I don't like them to be too symmetrical, but I still like to have interest in balance. And then it's also fun to kinda bring them off. Maybe just a couple tad interests. Okay. This one I'm going to drop in since I had to make it darker, I'm going to drop in some black. So on these edges. And that's all I'm gonna do to that one. So see how it's just like focusing on these like basically just the basics. I'm not going to do anything too fancy. This one I'm going to drop in that lighter color and see how that blends with everything. Then I might bring some of this for St green in here too and just do a couple of little blooms in area that's still wet. You'll find that as you do this, some areas are a lot wetter than others. And like as far as across the board as you're working, that actually just adds to the interests. So if you're intending to do something, I want you to let that go right now, because this is all about experimentation. You're just you're letting yourself play this dried. That's okay. You want to let it dry completely and then you can go over it again on the areas that you need with water. And it's not going to mix that same color in, but it will re-wet it so that you can add something new on top of it. That's going to give the effect that we're going for. So I'm going to just drop in some of this bluish green color and see how this is actually really interesting. What happened here? It has this really cool area, like it concentrated and then it blossomed out and left some open space. So let's continue this process and see where it takes us. This is an example of when you get too little bit, I don't even know. Yeah, there we go. Like at the very sides because that's when the perfect blooms will happen, but they'll still maintain the dots. They'll just start to do a little bit of this. But I don't want to those next to each other. So I'm actually going to spread this out. A sign stayed wet quite a long time, but I can start adding a little bit of color in and I might just do only one little small spot like that. I think I like the way that looks because it's simplified. You can see a lot of the swatches on here, or actually a lot more simple than what we're doing over here. So I can go in and just have some pigment on my brush. And that can be it. Or I can go in with a little bit more of the same color right away and have that bleed. That wasn't even the same color but you get what I mean? Where like if I get most of this off my brush and then I have this color, I can come back in with the same one and deepen it right away in just one spot and see what happens. But you can also come in with just this one tone and call it good and don't do anything else. So I'm gonna do that actually throughout and a few places. Because I like to have a little bit of balance where it's not like overtaking with all the details in the world, you know? And then if something looks too simple, I can always come back, Let's see, Row, row, row. I can always come back and add stuff to the side, or just a few dots maybe over here to do that balance. But that way I'm not losing the integrity of my ensuring that there is a balance in here. I want you to fill out an entire page of this and just play and then see where it takes you. 7. Layered Cascading Leaves: In this lesson, we're going to start seeing some form. We will apply the techniques that we have used so far in a little bit of a different way while also doing some layering and building out so that we have a beautiful final result that really shows some depth can also be used. I mean, it could be a project in its own because it's so beautiful. That is making beautiful cascading leaves that basically flow into the page. So let's jump in. Now what I actually end up doing most of the time for this is flipping my page upside down. That is because I feel like I have more control with fine lines. If I pull away from myself, some of you may feel better pulling toward yourself. Neither is right or wrong, you do whatever makes sense. But keep in mind, basically, what we're about to create is a, from the corner a cascading, draping, if you will, of really beautiful, elegant leaves. So if I flip this upside down, bring it from this corner or this corner. But I just keep in mind like, okay, they're all coming in and then I have this space open and I'm focusing primarily here. So that being said, let's get started. The first thing that I want to do is build up the back layer. So we're not going to do as much wet on wet for this. But we are going to incorporate some additional colors within our leaves. But we want the first layer, the background to be more translucent. And this applies to anything that you want to make buildable. So I'm gonna get just a little bit of pigment on my brush. And if it's too much, It's not the end of the world. I'll show you how I'm inevitably going to do that too. So I'll show you how we can fix that. But I'm, I'm creating the same stems that we did before, curving this way and then turning into leaves. Some of these stems will be longer and some will be shorter. And in this slight curve. And then I'm going to press the whole way down on my brush and bring it up to a point. And then I'm going to do the same thing, press full pressure and bring it to a point. I could add more pigment if I wanted to make that darker, but I don't because it is the background. I'm just gonna do the same thing again. And these can be on their own stems, but you can also have them coming off of the main stem of anything that you paint. Notice it's going in the same direction. It's just an extension. And then I'm gonna make sure I have water on my brush and see how in just one fluid motion I apply pressure and then lift, lift, lift, lift, lift. Into that point. I'm going to build this up. And I'm careful to, to see where my ends, where the stem ends. Because if it's right here, I'm going to have two leaves in the exact same spot. So I'm going to bring that a little bit longer that I don't have them stacked. If you additionally, I will do the same thing. Shorter to make sure I have some leaves that are really cropped. In fact, I even want some that are just kinda peak of booing down. And it's okay if they are pretty dang current, transparent because your background should be, because you're gonna go over all of this with the same thing with more pigment. So don't fret. If it's not looking like bold, it's not supposed to yet. Then as we build, so I can continue adding these, so that's too much pigment. So I'm just taking some water and going through and then I'm going to pull this pigment. So I just cleaned off my brush. I have only water. I paint that in and you know that how we do the bleed. So I'm going to encourage this, push it, push it, push it, push it into the leaf itself and see how it lightens setup. Additionally, you can create another leaf or stem coming off of that and see how it's pulling all that pigment through and making it quite transparent. So a little trick you can do. And then as you build, you don't have to pull everything from the top. You can actually have it pull from behind. So you just have a slight bit of a stem off of one of the leaves, like it's tucked back there. Then I'm just going to keep building up this space. And I want it to be thinking about your composition as you're going. So I feel like that's maybe a little further down, but that's basically where I wanna be and then have this take up this space here. So I can have some coming from. The side of my page, make sure I have enough water on my brush to really pull that pigment through. I'm gonna do the same thing next to it. Pulled up through. This one's pretty transparent. Again, that's totally fine because it's our, it's our background. They don't have to look perfect ever, but especially not right now because they have they are they're gonna be like basically faded back here, not a focus, just enough. So you can see how this is layering up. I might add one closer here, but notice I'm still curving. What will be downwards? I'm upside down right now. And I'll put a little more pigment on this one. There we go. And I'll have some here, but I'm not going to bring them down as far because I want it to kind of start to fade up this way off the page. So that's just a composition thing. See that's way, way, way too much water. So I'm going to completely rinse my brush so I have nothing but water. And then I'm going to do the next stroke of that leaf, which will hopefully soak up a good amount. So see, it's getting better, but it's not quite right. So from here I can make a stem coming off of that and then another leaf. And even if it's not pulling yet, That's where we can push that color into, pick up some of that color and push it into the one next to it. And that helps a lot. Another thing that you can do is just completely rinse your brush and then dry it a bit and pit like pickup, basically paint on your page and then it will soak up some of that color, which is nice little trick without having to dab your paper with a paper towel or something. Alright, so I'm gonna do a few more of these in some of these spaces. I kinda like my background too. So when this is right-side, I kinda like it to come down a little further than my prominent leaves that are on top. There they are. Okay, So that's pretty, but now it's time to really refine and get a little more structured on our form of these leaves to make them really pop. And I'm going to do that with more pigment over the top of these and you don't have to worry about filling in the spaces because they are going to actually overlap. So you can draw the same colors and just have more pigment. Or you can grab different colors because I love green. I'm gonna go ahead and throw in some other tones. And I'm going to start deep. So I think what I'll do is start here and I'm going to try to make these lines even thinner. So something that helps me is if I hover over my page doing this until it makes contact and then I know what that pressure should be to get that effect that I had to get the thickness of the stroke that I want. Then I will apply full pressure on my brush pole as at a C curve and then go, go, go, go into a nice tip. Then I'm going to load my brush up again. Do the same thing to the other side. If there's too much whitespace like it's fine if there's a little bit for the vein in the middle of the leaf, but I wouldn't do it on all of them. I also like it's okay to go in and fill that. So it's not super super open because if they're too open, you just doesn't look right. So keep that in mind. But basically now is when I fill see how the overlapping is starting to come together, it looks really pretty. I do that color again. Actually, I'm going to try to work from here to here so I don't drive my hand there. You might be able to see this leaf is a little bit of a hot mess. So I can keep that in there while showing the tone and the depth, but I can do it with a leaf that's hovering over it. So these are a lot sharper. There are more intentional and that's another thing I love about this exercise first, because it's going to allow you practice time. And it's also just plain fun. Alright, so I'm gonna have one coming up here and then maybe. Yeah. And I grabbed a different tone of green that's a little bit more, has like a dirtier vibe, more earthy. And then I also want to make sure that I don't just have a bunch of STEMI areas because I also want them to peekaboo in like this, but even even less than that would be good. So like if I just kinda form to the tip and then it looks like it truly is flowing in. Alright, so let's play with this wet on wet, like I said, like I promised. So what I'm gonna do is grab probably equal amounts of paint and water. This was a little more paint than water. But now I have Yeah, there we go. I've got some transparency here. I think I grabbed even more water than paint, but transparency here. And then I'm gonna go in and grab a cool color because I have a warm, warmer color and I'm going to drag that on the side just like we did with our other exercise is other exercises and set that down and allow it to bleed. And you can sort of see it starting to happen right here, but we'll give it a second. And then I'm gonna do the same thing. Here. Need more pigment. And this is just into like integrating different tones and see how that, this one's a little wetter so you can really see the bleed start to happen right away. I love putting different colors at the tips of leaves too. Okay, So we'll do that again coming this way. This one I'll just do transparent ish and drop in a lot more pigment. So it has more of that effect altogether. So we'll see how that bleeds. And then you can see this one already is mixing and making some really pretty marks. But these ones, since this one has less saturation to begin with, it will have more contrast. Same with this one. And watch them because as you can see, the bloom is starting to happen, but it's starting to dry right there. And I actually want it to be a little smoother before it dries. That's where I can go in and tweak it. And that's also I could have prevented that had I had the perfect amount of water and paint ratio. But that's not really something that is always predictable because all pigments are different. Sometimes you score and sometimes you make it work and it continue doing this. Now, notice that I am, my stem is lower than these two, so I have this nice stack. This one is nice and pigmented. And then sometimes what I like to do is grab another tone and come off of it and kinda drag out from the pigment that I just laid. And let that bleed into that as well. It's just a fun thing to play with. This is like the perfect exercise when you aren't really sure what to create. Because you're making something that's really pretty, but you're experimenting like every step of the way. You're experimenting with composition. You're experimenting with paint to water ratio with different types of pigments. Like I grabbed just as much pigment here as I did here, but it's a different color and so it just acts different. I can drop in some pigment and watch how that cool tone really gets grabbed in. And how I like having a cool, how I like or dislike having that cool tone in there. I get to practice forming or like reshaping things. If I don't like the way something is shaped, There's just so much opportunity to explore. You can also try different brush sizes. I could come in with a smaller brush or a much larger brush and have different shapes of leaves. Or I might want to reshape and have skinnier leaves, or I can have shorter leaves. There's a lot of different options to play with here. But see how the darker I get, like, that's what your attention is pulled to. Not darker but more pigment and less, less transparent. But this one C is like so faded. And then we're going over everything so that we can have that depth. Okay, So I'm gonna pull a lot from this side and then speed this part up just a bit so you don't have to watch this long. Like we see it with new eyes to look at how pretty it is. It's so pretty. And we basically did the same thing we've been doing. We just focused on form also. Alright, I will see you in the next lesson. 8. Your Class Project: You now have tricks that are going to allow you to break through that mindset that's resistance in actually starting to create something. What you're going to do now is take the exercises that you learned in this class and apply them to a trio. So three pages with each of those pages being different with a common thread. So this might be in the color palette that you choose. It might be in your subject matter, you might be in your mark making. The creative part of this is yours to run with. And by creating a trio, it's allowing us to make something that is very, very simple and elevate it to create a really beautiful collection of art. Some might call that abstract art. That's up to you to decide. But the main takeaway from this is to allow yourself to connect whatever you decide to do. I invite you to share your project. I want to see it more than you. Now. I want to see the colors that you chose. I want to see how you made these exercises come to life and your own unique way. Because even if it doesn't feel unique, it is because it was your hand that created it. And that's something very, very special. Also, share what you did in order to establish a creative ritual for yourself, if you will, or maybe just a more relaxing space. What did you surround yourself with? Or did you wear your favorite sweatpants or have some music playing? What is it that with being in that moment, whether we intend on it to be or not, the energy that surrounds us is infused in our art. And I would love to see how that translates for you. Now all that being said, I would love to see you some more. Be sure to check out my other classes. I have got so many and I also have so many resources on my website at the pigeon letters.com, we have regular tutorials that go up on the vlog weekly. And I just want you to be able to dive into the passion of creativity as much as you possibly can. So I can't wait to see what you created and I will see you soon.