Daisy Daze - Simple Watercolour Flowers

1. Welcome to Daisy Daze!: Hi there. I just want to take a quick moment to say hi and thank you so much to all my new followers. But also other followers that have been with me over the past three years. I'm an artist and musician based in the lowlands of Scotland. The classes I provide concentrate mostly on watercolour. But with a twist. I love experimenting and sharing new techniques from expressive brush strokes, loose watercolour styles, and printing. Moving on to our class today, let's paint watercolour daisies together. We'll be practicing two easy daisy head techniques. I'll be demonstrating how to paint with both slow and swift movements to create delicate daisy petals. When you feel ready, we'll then move on to our three minute little Marguerite flower project and our class project. Who is this class for? It's designed for new to painting students, Those who want a go-to flower, which can be used in many ways. It's for those of you who are looking for an achievable, relaxing painting session. The Swift gestural movements may be easier for followers like myself who suffer from our muscle weakness. It's also suitable for fellow artists who might want to clean their palette with a class in between larger projects or feel they need a gentle exercise to wind down. And finally, for anyone who finds painting pretty little flowers, good for their health, don't forget, there's a great community on skill share. So if you want to upload your art in our project section of this class, that will be fabulous. Thank you in. 2. Materials : I'll run through the materials that I used, but I don't like to be too prescriptive. Materials are really expensive. Anything that's an approximation of what I've used in this class will be brilliant. First we have Canson Graduate grey tinted paper, which I used for this class. But check out the little section I did where I went through mixing a gray so that you can just do your own background on white watercolour paper. As for brushes, I just had a mixing brush. This happened to be close to hand any brush just so that you can mix your paints evenly. Now step, if you don't have stipple bush, check out if anyone in the house has makeup brushes. Because old makeup brushes pretty much follow the standard of artists brushes. By standard, I mean their shapes and there's often like a dear foot or a stipple brush in with makeup sets for the petals. I used to filbert shaped brush. This is a number two, master touch aquamarine. Then we just want ta detail brush. Any small brush that you happen to have, it could be a lot larger than this, actually. As long as it's got a nice point to it, it's just for making little details at the end, right These are the three colours that we're going to be using. If you happen to have Brusho and this is my favourite moss green, which you'll have seen in other classes of mine then all well and good, but if you haven't does not matter. I have used here green gold, perylene green, and a pure yellow. Again, we don't have to have these particular greens or yellows.. any light colour. Or if you don't have a light green, you could always use a darker green and mix in some yellow. The pure yellow I think is a lovely base for the heads as well. Those are the three that we're going to use primarily along with Dr ph Martin's bleed proof white. You don't need to have this either. Here I've got an alternative that you could use this is Daniel Smith titanium white gouache or you could use a white watercolour again, don't worry if you don't have the Dr. ph Martin's And you can always mix up with what you've got in your set of paints if you're going to do your own background. If you've only got white paper, then I used here black and white. I've got ivory black, opaque white. It can be only black or white. Please don't worry if you don't have the exact same colours as me. I've got ultramarine and I've got burnt umber. I show you how to create a lovely grey with those colours. Then I also show you how to create a grey with three primary colours. I'm just going to borrow this yellow from here. Put that next there. Put this blue here. This is what we're going to use just to show you another alternative to mixing gray. Let's move on to the next section together. 3. Mixing Greys for White Watercolour Paper: If you don't have any grey paper. Let me just show you how we can mix a nice gray. I'm using burnt umber. This is a classic one which you've probably seen lots of artists using. Then I'm going to use ultramarine. So let's mix that up and see what colour that makes to start with. I'm just gonna get any old brush, pot of water. Let's just see what we've got. there's a little bit of green on my brush from the other day. All right. You can see we've got a nice grey going already. That's a really nice colour. In fact, all of those are lovely. So you could just paint a wash, let it dry completely, and then just carry on with a class as you would if you had the tinted grey paper. The other thing you can do when you've got these beautiful colorus is you can add a little bit of white. And that will make it just a little bit more neutral and opaque. Let's have a look you can always see when you've mixed on the palette, but you can always have a little sweep on the paper and see where you're going. See whether you want to add more blue, more brown, more white. It's a very restful process actually. And you can just take your time over this until you get the grey that you like. That's quite nice actually. That's a very basic grey. And of course, the other thing that you can do is just mix a black and white. So I've got some ivory black here. Just put a little bit down. then the white. This is white water colour, but I do also use the Daniel Smith, which is lovely. This is very affordable though, right let's mix just black and white together. There's nothing wrong with this, if you're just using it as a background. That's nice as well, that's a lighter one. We can obviously make that darker by adding a bit more black. Just make sure you're going in with a clean brush each time. Just mix all that in when using it as a wash unless you want to have a streaky effect, which I quite like just mix it really well, then you'll get a very uniform background. The final way is to mix the three primary colous together. I've just picked up the nearest red, blue and yellow that I have. This is one of my favourite red perylene red. This is a pure yellow, or try something like new gamboge. try any yellow, there's lots of ways to achieve a grey. Then we can use the ultramarine again. Okay, so nice clean brush. Just move my water over there and let's mix these together. I'm just going to bring it down to this part of the palette here, you'll find some quite dominant. Just keep playing around until you've got what you want. It can be playful and fun. I think this is going to be a little on the brown side. Well, let's have a look. Oh, look a that colour. That's quite nice, isn't it? Earthy brown? If you're getting a brown colour, just need to add a little bit of the blue. See what we've got now. Yeah, that's more like a bluey grey, quite like that grey. So you get some lovely, lovely neutrals mixing the three primaries together. And you can just carry on to your heart's content until you've found the grey that you're looking for. See here, I'm going to put this down. Put too much red in, but let's have a look. Isn't that gorgeous? Getting a little sidetracked here. But mixing is so restful and full of surprises. Just mess around with the three primaries, and then you can always add white to it. Then I've got a lovely pinky grey. I'll leave it there because it's just really to give you an idea of what you could do to mix a nice grey. You can put that on with a wash brush or just the largest brush that you have and fill the whole page. Let it dry, and then we're going to carry on with the next part of the class. 4. Practising Daisy Shapes: We're going to start with Dr. ph Martin's here and that's a neat little pool there. What we want then is to create almost 50/50 if you like. I'm just going to make a little pool there. I'm going to add more water. Don't be afraid to add water to this because there aren't any mistakes. And this is all a practice run, anyway. Go for it! We've got watery white, we've got 50/50, and we've got the neat. What we're going to start with is the watery mix We're just going to mess around with that. Pull it through. You can hardly see that on the page. However, when it's finished, somehow your eye knows that that's still there when there are layers on top of it. If you photograph it, that comes through. It's amazing when it does. Let's go with our 50/50 mix here. You're starting to see more opacity. Then let's go with our neat white. Now Dr Ph Martin's is half liquid, it doesn't come out the same way as out of the tube. In a way I love its consistency though that's a very opaque white. The way that we're going to do the petals, I am using the filbert. But again, you can use a round brush. Let me just grab a round brush and I can show you. Because I don't like putting pressure on my followers to buy new materials when it's not necessary Using the round brush. Watch for drips. I tend to do my petals to the side, using the top to the halfway point. A little like this, slightly on an angle. But you can also use it like this, Put the tip down. And you will have seen this movement in a lot of other classes. Wiggle and bring it up. Wiggle... looks like wings quite nice actually. That's the side sweep. I like to call it push down, wiggle. Bring it to the centre That's with the round brush. In this class, I am mentioning the fact that make-up brushes have all the same shapes as artists brushes at a fraction of the cost! I actually bought these though I don't really wear a lot of makeup. I bought these for painting with, because they're so cheap and I like kind of just messing about with the shapes and seeing what I can get out of it. So have a look, borrow from friends have a look in the house for other shapes like this. Other brushes.... things that are not meant to be art brushes, that actually work really well. This is a lovely little brush, actually probably use that one again, make-up brush! I know big breakthrough, right?! Let's get back to these petals that we've done here. We could even go further back, I think, to this, let's add some more water. And I'm wiggling my brush now. I don't think I will do this, I might forget. But that's another thing you can do. What we're doing there is allowing those to dry. This is almost dry, so what are we going to do is add the 50/50. I've run out a bit over here. I'm just going to pull some petals that tend to go in between the other ones. Can you see how lovely and how pretty that these little layers can come through from behind the opaque layer? So, let's have another practice, lots of water. As to the way that you hold your bush, you can actually do these upside down. In some ways, it's a lot easier if you imagine the daisy head here. And then we're going to bring the petals up and then we can turn it round to do the head. You can also try very slow movements putting point, flaring it out. bringing it up again, if that's more comfortable for you. Then you go with the slow movements. There's also an expressive gestural way, which I did in my practice runs with this, which gets you a lovely daisy petal. If you want broader ones. I was using the side of this Filbert, then we can use the full. But I quite like fast movements because they look just a little bit more alive and have a bit more movement in them. This is tried here. I can go back in and do some more opaque petals over the top. They're beautiful in themselves, aren't they? Sometimes I just look at things and think I shouldn't do anymore. But let's move on and I'm going to show you how to use a stippler brush. Now, I always believe that when you're doing heads for flowers, what looks nice, is more than one colour. So, You're adding a bit of yellow, in this case, a little bit of green. And then I'm going to be using a little bit of brusho, if you happen to have it. This is so fun! When I discovered this, I was thinking, I can't wait to share this with you because it's such an interesting technique and it's so easy! We're going to go in with the yellow first that's quite watery. The thing with the stippler for this technique, is we don't want it too watery. Again, try it. How? Let me show you how that would look. You can see there that we've lost a lot of the yellow and it's not looking very Characterful lSo, et's get out yellow and dab a little bit off. Let's go into a bit of this Green. We want quite a lot of pigment on this. You can always have a practice run before applying it to the page. Let's have a look that's quite wet as well, but we're getting there. Then I'm going to just try perpendicular now, I'm just going to dab it into the paint and dab off the excess, you'll have to dab off more than you think. Don't throw this paper out if you're using erm.. this is recycled kitchen paper.... looks absolutely gorgeous when you're finished! Don't throw this out because we can collage with that in another class. Let's have a look. Now what brusho gives you is this character textual, gorgeous, stippling effect. And you can't really get that with just a tiny brush and all some people could. I don't think I could. It would take so long! but we can get this effect really quickly. It looks so nice as a daisy head. Let's add a bit more on. We're trying to keep it nice and dry. It is hard to show because my phone won't focus very well because we have to really use it downwards like this. But let's have a little practice, less is more .. little dabs at the top there. It's quite nice actually, if you go in whilst the paint is still wet, let's have another go at this. I'm going to wash that off. Let's have another practice with this stippler We've got greens, we've got yellow green gold. Why not try a little bit of that? Just take a tiny bit of that perylene green, brusho. You can always go over these as well. If they're dry, it's so lovely, isn't it? Such a nice technique. So you could start with the stippling and then bring up the petals to meet that. Actually, if you get in quite quickly, you can just allow that brush to bleed into the petals. Here, I'm doing a downward movement, That's another option for you to sweep like that. You can see that it's bleeding into the white a little bit. Let me show you now, without the stippler brush, if you don't have a stippler you don't have Briuho, no problemo because you can get your small brush. You can even use a liner brush or something. I'm going to pick up some of that yellow, not much of that left, tiny bit of the green gold. And I'm going to do a C curve, I'm going to do a larger one here so you can see just a C curve whilst that's still wet. Let's get in and do a darker green. Just take a little bit of that perylene... mixing it with the green gold. I'm just going to go round to the other side. We want that to blend in quite nicely there. It's a very simple daisy head, Can drop some water in, we can draw up the petals to that, like a full, a round, head there. But we can do semicircles, doing two strokes there. Just so we can see how this works. Again, you can do this quickly so that you get the bleed from the centre We can wait till the centre is completely dry. I might just drop some darker in there as well. Let's do a semicircle, one bit of yellow. Almost finish that green gold like a dome shape there. And then we're going to add some of the darker green. Whatever you've got, you can leave a tiny little bit of white space if you want. Always looks nice. Now I know if I'm going to go in here that's going to bleed a lot into the petals. I probably would wait. But let's just draw some petals, up or down into this little head. So there we have a little half dome. This is a full circle. Then we will go in with some neat white. I'll show you that. Very neat. Do some little highlights. I'm going to just try and be free with this two little tiny petals, turn it upside down. If that works, then going back, we can keep on developing layers. We've got very watery white. We've got the 50/50 white. And this is the opaque white. You can see the difference there and how we can start to build up the layers and how pretty they become. The reason why I like filbert, is you do get these lovely daisy shapes. You can always use the very tip of the brush to drag tiny little petals down over the watery white. There got a lot going on, but we can still go over there with a neat white. It does help taking your hands off the table, but it's a bit daring to do. It takes a bit of just getting familiar with the brush, that you're using, to do that. 5. Practising Stems & Leaves: Let's go on to the stems. I'm using a tiny brush, 5/0 It is absolutely minute, but for some reason I get on very well with it because I can use it and hold it like a pen. I tend to use it on the side like this. Let me show you that first, you can have your hand resting on the page. For this, we're just doing little curves. You can use the shape of your hand. with this joint here We might as well use it. So you can do curves just by holding your hand to the page and moving your wrist round. Or you can hold your wrist off the page altogether and go more straight on. Have a good old play around with the brushes that you have, to do a bit of scribbling. Or we could then go over to our round brush or Filbert, Get the white off that, I'm going to dip it into the green gold. I think there's a little bit of the darker green here. If you don't have a darker green, just add black to any green that you have. It's as simple as that or Payne's Grey. Let me show you the leaves. Now, let's start off really loose. We're just going to pull this down. I'm using it on the side. Just getting to know your brush. These are gestural movements. Let me show you a slow movement. It's very similar to this. In fact, it is the same. It's just an elongated shape. Could start on the side, tip down slowly, bring down, start to put some pressure on, start to lift up, and off we go. Let's do another of those. It is actually really good to do this. I often jump in to classes and I haven't got the patience to go through the practice runs! But actually the practice runs are really good, just to exercise your muscles and develop muscle memory. But in the short term, literally just to warm up, ready for your class, just as you would if you were a singer and you need to warm up your muscles. Let's start again with the slow movement. Tip, start to flare out. Lift it up and down to the ton there. Let's try some ribbon y ones because I love these were starting off and don't worry about if it's blunt at the top or at the bottom because I'm going to show you how to add details. I'm going to start with the tip. As soon as we've put the brush down, we're going to just pull it down like it's a ribbon or read in a river. That's the way I like to see them. It does take practice. I have to admit that it took me a while to pull the leaf out, but at the same time trying to think that I need to keep moving! But it is worth, it, really is. This is a beautiful movement. What I'm doing there is that ribbon movement. Don't get too worried about the shapes. You can just go in really loosely or you can do slow ones, whatever feels good for you. Because we have a second step that is using green. Here is the Perylene I don't want it very neat, but I want it fairly neat. Then we can start to look at these. I'm going to have to put my hand down over these little petals. But let me start to add little details. I like to put little tips on these leaves so that it looks like I just love this because it's so restful. And yet it adds so much to your work. Because I used to study people's art and I would look at it. Why is that? So, then realisd that it has a lot to do with the little details. They look like throwaway details, yet it really helps to bring the whole piece together. I just love it. It's a little bit like doing details with your pigma micron. And in fact, you can use the pigma micron for this. Just adding little details, running it down the length of the petals... doesn't have to be every one. And you can do a few lines on one petal. One of you can also lift your hand off the page if you like. I tend to support my wrist, because my muscles aren't very strong. Can I found a way to get around that? But it's lovely. It's just little details like this. You can even do little scribbles... little movements at curlicues, or whatever they're called. That's pretty much it. What we can then do is, if you like and you want to go back in, you can start to build up, dip a little bit more. Sometimes going in with just the brush or just your dark watercolor, getting the excess of, just adding a few extra details here, bringing it down into the white petals. This is the one that we did without stipple but you could always do this as well. Start off your flower head and then just add some stippling. Let's just let go, and do a bit of stippling everywhere! Just really start to loosen up. 6. Little Marguerites; Bonus Class: I'm just doing very neat little sweeping movements and then I'm going to add a little bit per center. Try not to think about it too much. And just a little semicircle of mid green, green, gold, little touch. And that's it. This is so easy and it looks more effective the less you play around with them, which I am very often doing. Let's try that again. I've got a bit of green on my paint there, but try different angles. You could just two petals like this of three. Just really lightly. I'm not really pushing down on the brush. I'm on the tip of the brush pushing down just very gently, that daisy shape. It's just an alternative. And you can add it to your main project if you want it. I'm going to add a bit of that yellowy green. Finish these off. If you have brush, you can drop in a bit of brush. That's very effective. Brush just makes it come alive. I love moss green brush. If you were to buy one tub of brush, it would be this color because it's so versatile. And I do use it for centers of flowers, so often gorgeous. That's another alternative. Little marguerite type shapes, I just add some, they're all pointed downwards at the moment. You can always turn your page around it. But I'm just going to have them like this, like they're dropping down a little bit, just pulling through little lines. It's a very simple way of creating asters really love it. It's so nice. A few little with green gold using the side and using those very swift movements. We're not doing the ribbon ones with this. This is just an alternative if you wanted to keep it a little more contained. Tip down, push down, flare it out, and lift it up. And you could always add a darker green to this as well for a gesture we're looking for that, just a very straight line, don't worry about the wiggles, and we're just going down on the brush a tiny bit. So, there we go. That's an alternative for you. You can do a separate piece altogether, or you can mix them in with your larger daisies. 7. Daisy Daze; Our Class Project: I put just a little bit of the brush out and I'm going to just add some of the green gold and I've got peralin green here. But just a reminder that you don't need the same colors that I have. Just choose any light green or dark green that you like. I'm using a mid yellow here now. I'm going to start with the dot H Martins. As you can see here, I've used most of my pot of white, but there's some on the way I am scooping some of the Dr. ph Martin's white and putting it into a separate part of the palette just to keep that white crisp. So let's add some water now so that we can start to mix those three values of white. So we're going to add some water here just to make a lovely, watery white. Add a little bit more white to that, and none will make a 50, 50 mixture. So we'll start by laying down the watery white. You could vary your brush strokes as we practiced using the broad side of the brush or the side of the brush, just go with the flow here. Try not to get too hung up on composition. Just give each flower a little bit of space. Practice moving your paper around so that it's comfortable for you. I'm continuing here with the broad side of the brush and also the side of the brush. This is the fun part. This is the, I'm going to just start by getting lots of water on it, but then taking most of that water off err on the side of it being quite dry. I'm going to pick some of the green gold and touch the yellow. Then if you have it, we're just going to dave it into the brush powder. Then you can try it out on a piece of card or paper before you apply it to the page you want. Just so that you have the right consistency, this is a lot easier than it looks. It's just literally stifling perpendicular to the page and we're just moving it around in a little dome shape. Let's put that aside for now. We're going back to our small Filbert or small round brush. We're going to start building up layers Now let's go for a 50, 50 mix. Picking up some of the neat white there and adding some of the watery white. I'm putting in some very simple, almost like pressing the brush down as if you're printing with it. Just a tiny swift of it. It's amazing how much this transforms the little daisies having that background wash. So this is already giving them some dimension and bringing them toward you off the page. Let's turn it round again. Fine, doing petals easier upside down. This is the stroke of the fiber and the little marks. I'm just going up on the side of the brush and pressing down very gently. And I'm mixing slow movements with very quick movements. I'm going to do a little, Marguerite, now that we practice together, definitely do not overthink this because they are so simple to do and sometimes they're the hardest to paint. Knowing when to stop, when three strokes is enough for four or five tiny little strokes, Just using the tip of the brush and a gentle push down a. So I'm picking up my detail brush here, so I'm just gonna mix a little bit of that green gold we're using the detail brush now, just to draw out these very s***der, expressive stems. Try not to get hung up on feeling like the stem has to all be seen. There can be a little gaps in it or there can be a little curly cues or double lines. Just go with the flow here. Just adding a few little details using the tip flare back to a tip method. With the brush, you can see with that stem that I did it in a few strokes. I didn't feel like I had to do it all at once. Just a few little details on this little marguerite. Just have I think ahead where at the bottom of the stem is going to be pulled through to. It doesn't get too crowded. Also, don't feel you have to finish every stem. Just a suggestion of a stem at the top of the flower. Sometimes is enough. I'm blotting off the water. I'm dipping this into our yellow. Now this is a K, pure yellow. For any yellow that you prefer, mixing it with a little bit of that green gold. And we're going to do our sea shapes, a little a curve of the way that you would normally we. Then we're going to do a little drop. Darker green around that. Now I'm dropping in a little bit of the yellow on the other side. We now have a circle of the three colors. We've got the sea of green, gold, little drops of the dark green on one side and the pure yellow on the other. Here, I'm just demonstrating that you can use whichever brush you've been using for the petals. So don't worry if you don't have a tiny, if you just use the very tip of your B or round, we're doing a thicker to see there in the yellow. I'm now going to just drop in some of the green gold on the other side. Tiny touch of that darker green again. We've got those three colors working together, beautifully, mixing a little yellow green gold again. And this tiny little marguerite at the top. And we're just completing the circle with our dark green. I'm going to show you one here, starting with the center of the flower, nice half dome shape there, completing that with the dark green. I do love green gold mixed with a little bit of yellow for daisy heads. It's the perfect color. If you have something close to that. I'm just going to add the stem. You normally do the petals first, but I'm adding the stem first. And then I'm going to go in and just do some lovely metal petals into the 50, 50 mixture. I'm using the broad part of the brush and upward motion and the tip there. Now we're going to use our neat paint. Again, this doesn't have to be Dr. ph Martin's. It could be water color or gas. At this stage, we want water on the brush, but if it feels sticky, just put a tiny little bit of water in with it. Here we're using our tiny little quick movements just to create beautiful highlights. This method, be lovely actually, for any flowers that you do in the future if you wanted to create a little bit of dimension, just these three different values of paints. Painting on the side again and mixing in those slow movements with the tiny quick ones. Try not to overdo it. At this stage, it is, and just one stroke sometimes is too much, so just keep pausing, looking at your flowers, seeing if you want to add any little highlights or if you feel there's enough picking up our detail brush again. And I'm just going in here to finish off some of the stems. If you get a little dry brushing like that, I think that's gorgeous to have a little bit of texture, so don't worry if that happens when you're doing his stems there. I'm demonstrating that you don't need to take the stem right down to the bottom of the page. So let's go on to do a few of our leaves. I'm going to keep these really simple. And I'm mixing a little bit of the perreline green in with the green gold, Adding a bit of water. There, we want this, a 50, 50 mix. Adding a touch of the yellow there. So I've got a slightly different mix of green. If I should need it, take the excess off. We're going in with our ribbon leaves. But here I'm showing you that you can still use those same strokes that you used with the Marguerite on the leaves. Very swift movement down just with the tip of the brush. And moving as you're actually pulling it through, which is a bit of a chal***ge. We're going to change direction. I do like the fact that leaves cross over each other. Sometimes I think that looks gorgeous there. I'm starting with the tip and just slight pressure down on the brush and then pull it right through to the bottom. Lifting the pressure as you reach the stem. I'm doing these movements very quickly, but you could take your time and do movement that we practiced. The thing with gray tinted paper, is that sometimes the color sinks in a little bit and you find that you might want to brighten your green or add a little bit more pigment. Let's go back to our step now and add a few more details just to the daisy heads. I really want to get this right. So I'm starting over again. I've washed the brush, I've blotted off most water, and we want to keep it really dry. It's quite an art. It might just take a little bit of practice to get what you want. Remember, you can always just try it out on a piece of paper before you put it to the paper that you're working on. Let's do that now. A little heavy on a brush and I'm just adding a little bit of yellow there now. We're just pressing dabbing in another layer on these heads. You can see how it's dried. The first he has gone back into the page, we're just lifting it a little bit now. A few finishing touches, if you would like, on the little marguerite. And there we have it, our daisy days. 8. Daisy Daze; Our Class Project, Finishing Touches: Be. I love music to the pain inhale. Exhale. It's another day. Brains is trending to music to pay in hell. That's a close look to music to the pain, inhale, exhale. It's another day, bistro, audience. A close. The ones trying oh lo Music to pay in. That's, it's another thing. My items are closed before this turn A. 9. Thank You! See You Again Soon!: We've touched on quite a few things actually. In this class, we've looked firstly at value of paint and transparency. How to build simple layers to transform our daisies. We've had a play around with stippling to create beautifully complex daisy heads in a matter of moments, which if you are doing with a detailed brush would take quite a long time to achieve. We've freedo par leaf painting. They are lifting our hands off the table to explore both swift and slow brush strokes. My favorite part, I think, was the small gesture on Marguerite. I love them. They're so sweet. And so to do, we've done a little bit of a flourish on our leaves that towards the end. But finally, I hope that I've been able to create a space which is not pressured at all, that it's been relaxing. And you've learned some techniques along the way that you feel you could use in the future. Thanks so much for joining me in this class and I shall see you again soon. Take care.