"Hestia" - Larkspur & Potentilla Gouache & Watercolour Garden

1. Welcome!: Welcome to Hestia. In this class, we're going to be creating a busy summer garden crammed full of flowers. But before we start, for those who don't know me, I'm Holly Thomas, and I started teaching four years ago. I feel I really found my vibe on skill share. It's definitely my happy place. And I just wanted to say thank you to all of you who support me and to my new followers, a huge welcome. A little about where I get my inspiration. I live with my partner and daughter with my eldest just down the road in an 18th century house on the coast of East Lothian. It is, I feel, one of the prettiest areas in Scotland. And we're lucky enough to live near the Lamame Hills. We have beautiful beaches. This is Belhaven Bay. And castles. And most of all, we have great areas of conservation. The coast includes Bass Rock, which is famous for its Gannet population, and also the Isle of May, which I can see from my window, which has one of the largest puffin colonies in the UK. I love puffins. So here's what we're going to be doing in Hestia. We're going to start by taping off our page. Then we'll create a lovely foundation of pretty leaves, beginning with beautiful larkspur with its long stem and clusard florets, and then painting sunny potentilla flower heads, dusky pink berries. And as we did in Scottish wildflowers, we're going to be adding pen details to our berries. Last but not least, we'll be creating tiny dotty blossoms in hands yellow deep and French ultramarine. So who is this class for? It's for confident beginners to intermediate level. Those seeking a restful, unhurried, and gentle teaching style. For those wanting to gain confidence in the layering of flowers and foliage and painting intuitively with more heart led brush movements. So the basic techniques we'll be covering are mixing a complimentary palette, and we'll be doing that throughout the class. Spacing out motifs to create a slightly random feel whilst aiming for a cohesive finished painting, and finally, learning how to keep a balance in our paintings with the use of paint value, layering, brush stroke, and detailing. I know for a lot of us, painting offers a balance in life and really adds to our emotional well being. So whatever flavor of chaos you're dealing with, got you covered, at least for the duration of this class. There's no pressure to share your work, but if you'd like to, you could find out how to do that in our projects and resources area underneath the class and on the right, submit project. So, shall we move on to the class? Let's go. 2. Taping off Our Paper & Base flowers: And I'm going to start out by using this empty washi tape in my favorite color. So I'm going to start off with my size five round brush and putting some titanium white gouache down and some undersea green. A And I've put that in two places because I want to make a gray green with the white mix, and I also want another well with some of that green into to mix with other colors. So let's start with that green and white mix. And this mix is neutral green. And it's a lovely way to start out painting. So first of all, let's just create some leaves. I'm sometimes bringing the leaf into the center and sometimes using the brush away from the stem. Also varying the size and the direction. Because this is going to get quite busy later on, we don't need to worry about it being perfect. It's more about the feel of it, really. Some kind of starting off at the top and working my way down. Maybe the leaves get a little bigger as we move down the stem. And I'm just varying them a little bit by elongating the leaves here. So I'm putting the tip of the brush down and then just carrying it through for longer. They're very sketchy, and there isn't a lot of water on my brush and a lot of paint. So it's about getting the right consistency for you. But it's a dryer approach, for sure. So you can see how much paint is in the well. And I would say that it's probably 80% pigment, 20 water, if not more pigment. I'm just mixing it so that it moves, really. I This is a fairly new brush to me, but I'm liking it so far. I also have an squada in this size, which is lovely, too. So moving down the page and just scattering these leaves around, let's fill the space here. And I'm going to run this one off the page. So you see we can get some very different shapes just from one brush and one color. I from the page there, just to give it a feeling of continuity, so it has a life beyond the edge. 3. Gestural Blue-Green Leaves: So I'm putting some French ultramarine down now. And that gives us this lovely rich bluey green. Let's see what that looks like. Ooh, so rich. I love it. I might just add a little white to it, see where we get with that. Just spending time mixing these colors together. French ultramarine undersea green and white. Until I get this kind of neutral greeny blue, This time, I'm almost just dotting and sketching with the brush. Certainly not thinking of them as leaves, per se, but just marks. Try not to worry too much about them looking like leaves. We're getting a very free, sketchy feel. Just the tip of the brush dancing over the page. Little scribble, little dot. And remembering the edges of the page. 4. Larkspur: So those are our base leaves. Now what to do. And I started off with a very messy palette for which I apologize. I was messing around with different colors. So I'm just clearing out a well so that I can have a nice clean colour. Sometimes I don't mind if they mix on the palette, but other times it needs to be clean. So some French ultramarine. And I did actually think this was gouache, but I'm pretty sure that's watercolor. And I'm trying to get the last of my white gouache out. So I'm cleaning my brush really well. Got some fresh water. I often have two pots of water, saves interruptions, and you can just carry on mixing knowing that your colours will be nice and bright. So a lovely bright blue here with French ultramarine and white. Isn't that gorgeous. And we've got two very different blues there. And I am putting some of this gorgeous, bright opera pink down. And that's squash. And I'm mixing that with some of the French ultramarine. I'm trying to mix a nice violet colour. It's one of my favorite mixes. So I thought it might be nice to do some of these more leggy flowers. They can be anything you imagine them to be and these are pretty much the same movements as we've just done with the leaves. But we're following a line down in the middle. So imagining that the stem is running down, and we're just adding these either side and in the center. And the reason why I don't do the stem first with flowers like this, it's just a personal thing. I am a bit freer with my brush strokes when there's no stem there, so it doesn't interrupt anything and I can put petals wherever I like. So I do actually usually go in afterwards. We did flowers similar to this in Ileana. And I'm working between a few blues there. We've got the violet, of the pink and blue together. We've got a kind of a sky blue over to the left. We've got that very cool white blue at the bottom. So I'm just dipping my brush in between all of these different hues of the pink, blue and white. This is an easy way to bring your flowers to life to vary the color just slightly. And you can always go back in and add different colored petals. So my paint gots a little bit tacky, just adding a bit more water. And this here is still my size two Filbert. And slowly working my way down. A little bit more white, I think. So we're working from that almost neat French ultramarine to almost white. We're also embracing the fact that we're going over our first layer of leaves now. And that's what we want because that's what this whole painting is about. Very thick layers with this one, hardly any white space. So I'm still flitting between the blue, the pink, and the blue and pink together in the violet. Trying to keep them quite fluid and not think too much. You can tell there that I've got a bit conscious of what I was doing, and that feels a bit less free. So just gonna see what I can do with it. And while I've got color on my brush, I do often go around and just dot that on the other plants as well. Looks a little bit better having a bit of pink and violet in it. So you can see all the lush colors that we get between the blue and pink and how many variations we can get. Mixing with opera pink keeps these flowers looking fresh. Just topping up the French ultramarine. So we're working on the edge of tacky here, and by that I mean, hardly any water, almost neat paint. It gives us a lot of control this style, and it also means that we can correct little mistakes quite easily. So if you have too much of one color, you could always go in and place another color on that petal. So there's a bit more freedom with this squash style. I actually love it just as it is, but I really want to experiment today with a very crowded page with quite close knit layers. But I might come back to doing one like this. I think it's so lovely, just the violet and the green, very fresh. I don't want to bring this one down into the page too much because we've got that one just below it. And remembering the sides, as well. It's quite nice actually going over these leaves because we can see them poking through some of the flower heads. So I think just one down here. I just want to scatter them fairly evenly. We don't have to get too prescriptive with that because we're going to be doing so many different layers on top. But it's nice just to have a nice bed of flowers to work on. So adding more opera pink I just realized this one was a little bit blue, so I just want to add a little bit of violet. And just that little flower head. Maybe a couple of throwaway petals here just to make it feel like it goes beyond the boundaries. I do want that feeling. It might be nice for us to explore that, you know, as if it's kind of exploding off the page with beauty. Okay, so washing my brush and taking time to consider what we can do next. 5. Potentilla Centres: So I'm just cleaning a well so that I can keep my colours nice and crisp and clean and putting down some perlein violet and renewing my white there in the top well. So let's mix a nice cream color, and I'm using white and just a touch of the handsome yellow deep. And then let's mix some of the Perlein violet with a bit of the yellow. It's got a tiny touch of white in it as well. And then that's add blue. So what I'm trying to get here is a kind of a brown. I don't mind if it's on the red side. And that's kind of like a marooni brown. I like that. And I think I'd like a lighter version, too. So I'm just taking some of that up above there and mixing it with the white. So we're going to continue with that dryer style. Not much water on the brush at all, and the paint very thick. So what we're going to do is start with the centers for our flowers, and we can keep the placement a little bit random. And it doesn't matter, obviously, if we're going over motifs underneath because that's the whole kind of plan with this. Is this kind of crowded wildflower garden feel. So there can be full spheres or just a sea curve or a little bit of white space. They don't all need to be the same. And remembering to take up some of the flowers to the edges. So this is a mix of undersea green with a little bit of white in it, and we're just going to tap in these little stamens around the center. Little dots, really. You can also use a small round brush or a liner brush for this. And we can start to relax because all of these flowers have that same kind of feel to them. So we're getting into almost like a repetitive style of painting here, which is very meditative. I don't want to miss any, so just keeping an eye on that. You can see I'm doing these really quickly, and I found that I get a style that I really like doing that because I'm not thinking about it too much. I'm not trying to be perfect. I'm just trying to create a very kind of rustic, expressionful style. One tactic that I really like for flower centers is to get a few colors in there. So I'm just rinsing off my brush, and let's mix a kind of a mustardy color. And that's very simple given the colors that we have. So all we need to do is to add that aubergine kind of Perlin violet mix and add that to our handsy yellow deep. I'm gonna get this very quick and easy mustard color. So we can then just take our time to dab in some of this color in between the green that we've already placed down. Very pleasurable and a lovely pastime. Make sure you have a nice cup of tea or your favorite drink next to you. Take little breaks when you need them. 6. Potentilla Petals: So I'm replenishing the white. And this could be gouache or watercolor. If you're using watercolor, I have noticed if you go heavy on the watercolor, that it can look a little shiny, which is why I suggest that if you want to make the transition over from watercolor to gouache, that you buy a tube of white gouache because you can then add that to any of your watercolors, and it will kind of lend a guache quality to it. So starting with our gorgeous petals now, just bringing them to the center. So I just want to show you here because it's not showing up too well, but we will be able to see these more as we continue. I've added the smallest amount of hands yellow deep to the white. I'm using gouache, so it's very, very bright, as you'll know from other classes. So I just want it erring on the side of a kind of a buttercup yellow, very gentle yellow. And just bringing up little strokes from this filbert brush, keeping it nice and loose. And again, embracing the fact that we're now going over the motifs underneath, and that's exactly what we want. Or you could also choose to allow some of the motifs to peep through. And because this painting is all about the whole effect, we don't need to get too hung up about perfection or, you know, the placement of the petals. It's much more about feel and all the flowers and leaves working together. Let me just do a quick close up here. I work quite quickly, you can obviously go at your speed. And I love doing classes like this because it does allow you to rest. Because we're using a dryer technique, it means that we're not as reliant on drying times. So what we can do now is add some white petals on top of the buttery ones. So I'm using the white very, very thickly. We just want our brush to be damp and for there to be no excess water, just enough for it to move. And we'll start to bring out and see these flowers in our following lessons. But for now, we're just building up a little bit of texture with this white. And it looks so crisp. I love that against the blue and the flower centers. Again, very meditative because we're going over petals we've already laid down, either over them or in between. And you can see I'm continuing to move between a one stroke petal and little two stroke petals. If you feel the paint is getting tacky and isn't moving very well, I tend to leave the paint on my brush and just dip the tip of the brush in the water. So that way, you're not losing all of the lovely lush color you have on your brush. I 7. Grey-Green leaves: And maybe it's time to add some leaves now. So I'm just rinsing out my brush and adding some white to the undersea green. I do like this color. It's kind of a gray green, depending on how much white you add. And I've purposely mixed it into a neutral green because the colors that we've laid down are quite neutral, so I don't want these leaves to suddenly leap out. We want them to mix in beautifully with what we've already done. And you can see now that the flowers are coming forward. We're just giving them a little bit of structure. And with these, I'm going from the tip to the center of the brush and using a very similar action to the lark's fur. Keeping it nice and loose and quick. And isn't it beautiful? I love how paintings kind of start to create themselves, almost. They start to come out of the page towards you. Just adding this tiny touch of green has done that. I love that. And I'm placing some of the leaves to kind of curve around the petals and some in the white space in between. So we're getting a general coverage of this lovely gray green. And not forgetting the edges. I do like to bring things right up to the edge and over just so we get that lovely line when we take the tape off. Paying attention now to where little leaves need to be added. Trust your eye on this because you will notice where there are little white spaces that you want to fill. And just adding those leaves has taken us on leaps and bounds because it's just framing all of the flowers that we've already placed down. 8. Berries: So let's move down to a size zero in a filbert or a round brush, and let's add some berries. So I'm just going to wake up the opera pink. Just a gorgeous color. And it's really nice for color mixing, too. So I'm going to add white to it, and then maybe a little of the periviolettll we get a very neutral kind of violet towards the red, like a red violet. Don't lose that quality. And then just as we did with the center of the flowers, we're just going to create these little berries. And again, can be full berries or little sea curves or circles with a little bit of white space? And just place them where you feel you would like them to be. You could stay with that kind of partial random feel. Put two berries together there, just to break things up and keep it lively and as if it's dancing on the page. And you'll know from my other classes that the way I do berries is with a very dry brush, and I like it because you have ultimate control, really, of the paint. So very dry and a very thick paint. And I love how this pink tends to tie up colors. Again, I've said that before that Perlin violet is so good for that. It's starting to look really cohesive now and to get that kind of random, slightly chaotic look of a wildflower garden. So every now and then, I'm just placing a couple together. I've always been interested in placing a color down and watching how it transforms the colours around it, and we're starting to see that now with this pinky perylene violet and how it reacts with the blue lilac violet and creamy yellow. 9. Detail On Berries & Flower Centres: Let's add some highlights to our berries. And as we've done in previous classes, it's very, very simple. Just going to mix a nice white, which has a tiny touch of the pink in it. And then we're going to just do these little sea curves or little splodges even on one side of the berry. And you can relax with this, I promise you, because I used to spend ages trying to get this perfect. But actually, a little splodge means a lot, and it's amazing how much it adds to the round effect of the berries. So don't give yourself a hard time over these tiny little throwaway dots and sea curves. So I'm just going to turn my page around so I don't miss any. But also, so I don't smudge my work. So whilst we wait for the berries to dry, let's do a similar thing to the center of the flowers. So let's go back to our perylene violet. Mix it in with a little bit of white. I'm just taking the excess paint off there, just so I have some control. And then I'm adding some little dots around the center. And what we're doing is creating a little bit of shadow around the center. And it will just allow it to pop a little bit. So just following around the centers. You could either use a sea curve or little dots or a little scribble. It's really effective, and it starts to bring the flowers forward again because as we add detail through all of these layers, we need to take care of every motif and bring it along with us. And again, this is a restful part of the class because we already have the motifs down, and now we're just bringing them to life a little bit more. And I'm just slowly working my way around. I do try to catch them all, but sometimes I do miss the odd one. I noticed in previous classes when I've done that. And I imagine you're screaming at me through the screen. But maybe that's a good thing. We don't want things to be too polished or too perfect. And can you see how that brings them forward just a little bit? 10. Berry Pen & Flower Centre Details: So we can return to the berries now. And we could use a technique that we've used in Scottish wildflowers, cleaver, pimpernel and forget me not class, and also the winter doodle class. And we're going to use our pigma micron. And on one side of the berry, we can add these little Vs. It just seems to transform them into berries. And we can also add just a little bit of shading on one side of the berry. And again, this serves to bring the berries forward, as well. So we're going back and we're kind of tending to our garden so that all the motifs are working together with a similar amount of detail. You can use a fineer pen, but I tend to ruin mine because I go in when the paint's still a little wet. So I just have reverted back to a 01 size now. So just continuing on, adding little touches and little vis for stalks. Forgot a little center there. Just going back in with a peri violet. So stopping and having some thinking time is a really good idea. I don't often map out everything that I'm going to do and paint very intuitively. So I make decisions as I go along. So I might add a little white to the centers, and I'll switch down to my liner brush. But you can stick with your zero size brush for this. Or you could even dot some in by using the base of a brush or the clay modeling tools that I've used before. And because that's such a neutral color in the middle, the white just adds a little bit of highlight to it and brings it forward, which is what we're looking for all the time to bring all of these little elements together. And you can also use a white gel pen for this. With the white gel pen just from my own bitter experience, I know that if I use it on wet paint, it carves into it rather than leaving the white on top. So I usually have to wait until the paint is really, really dry. I also realize that I need to recognize when they're running out. I've made so many mistakes with that in the past. So I keep nice fresh white gel pens, wait till the paint is dried, and I don't push down very hard. That's another thing that I've realized that starts to then carve in, and we don't want that. In this case, we've used it that way in other classes, but for this, we want it to lie on top. A good technique to remember as well with paintings like this is you can place a very light color next to a dark one, and it's a lovely vehicle, if you like, for creating a little bit of drama, a little bit of interest for the eye. It's like a little light dancing movement, and it creates these imperfect shapes, which I feel always adds something beautiful. I 11. Warm Green Leaves: So let's go back to creating some leaves. And this time, I thought it would be nice if we mixed a lovely warm green. So using the colors that we already have in our palette and picking up some of the handsy yellow deep and mixing it with the undersea green, which I've just added there. And this moves the green very much into the olive green camp, and we're going to make a neutral out of that by adding white squash to it. And we want this to be quite thick. So let's see what this looks like on the page. And I'm doing them just slightly more elongated, just to bring a bitter variety in the color and the shape. So this is very tacky. So I think I'm just going to add a tiny touch of water. And as with the other motifs, and placing them in white spaces or over our previous layer. Just allowing my intuition to take over. Going around some of the flower petals to define them a little bit more and in other places going over them. Bit more water. It's kind of difficult to get it just right with gouache. I do like using quite thick gouache, but of course, it has to move as well, so it's about getting just the right amount of water too to keep that value of paint, but allow it to flow. 12. White Potentilla petals: So what next? I think it would be really nice to add some white to these flowers. And it can go really textural, I think, using very thick paint. There's hardly any water on my brush at all. And let's stick to our size zero Filbert brush or whichever brush you've chosen for this class. And this is very, very thick, very textural. And it's quite nice to have a slightly raised surface. So don't be afraid to get a lot of the white on your brush and then go in either over the petals we've already painted or between them. And you'll start to see at this point in time that we are actually going over some of the motifs that we've done earlier, and that's okay. I quite like that where a painting evolves, and sometimes you miss or obscure some of the motifs that you painted originally. And I like it because those motifs helped you get where you are. So don't worry about going over other leaves or petals or flowers because that's all part of the process. We set out to make this very busy kind of beautifully squash together wildflower garden where there's hardly any room to breathe and they're all jostling together. I'm taking time to go over some of the darker motifs with the white. So some of the leaves, which I really like because it also adds to the sense of depth and layering. And we can start to see how the potentilla is becoming more defined now. 13. Violet Background: Let's have a look at the blue flowers again. So I've put down some more French ultramarine. I'm mixing that with white. And then I'm bringing some of the Perlein violet down and mixing that, too. And again, we've done this before where we've chosen our palette. And then we're borrowing from all of the colors to create these beautiful neutrals. That is a gorgeous color. So I have this idea now that I've got this beautiful color to define the flowers even more. And I love this little scribbly technique, which we can go around the petals, and we're also negative painting almost here. So what we're doing is painting around with these little scribbly movements. And because we're using complimentary colors opposite on color wheel, it just looks absolutely gorgeous. I love purples violets with yellow and buttery whites. So I'm not worried here about, you know, are these flowers? What are they? We're just adding this lovely little shading to really allow them to shine. It's a nice introduction into negative painting as well, because I always find that can be quite overwhelming. But doing it in a very small way like this is it's a nice comfortable place to practice. So you can define the petal you can go in and create a space between two petals. And you see here, I'm just shaping and bringing those in a little bit. So this is your chance to reshape them into a formation that you like. I will have to remember this color again because Oh, it's just I just love it. And can you see how that dances with the yellow? So this very, very soft blue violet and very soft white yellow. So turning my page upside down, you might find this helpful as well, because it just gives you a different perspective, and you start to pick up on things that you may have missed. So with this, we're really relinquishing control over our background now. We're accepting that some of the motifs that we've painted will be painted over, and the painting is choosing its own direction. I started out with just wanting to define very gently the flowers. But now I really like this as a kind of a background, so I'm not too worried now because we have a lot of blue and violet in the background already with previous layers, it's all merging in really nicely. I find one of the easiest little details is to do a little V like that where you're shaping the petal and it's going almost up to the middle. I'm just adding tiny little touches of water to keep it fluid. But this is very thick paint. And I'm just drawing some of these out even further 'cause I realize I really love it. I'm doing another little V inlet there. Just going up and over the tape. And another little V there. So now I can see that the lark spur is moching with this beautiful, muted blue violet. Just bringing a few little lines up there to complete the petals. And you can move down to a liner brush for this. So just looking where there's little bits of white space that I don't want. I think it's nice to have a little touch, but as this is designed to be very busy, I just want to make sure that there's, like, an even coverage. And going round the berries there. I don't want to go over them. So again, losing some of the motifs here, breaking well into some of the petals, and that's okay. And as I go around, I realized I wanted to extend some of the violet. So I'm kind of pulling it out a little bit more in areas to create that lovely, busy but complimentary background. Let's get a bit watery now, but it's not far to go. I have neglected this bottom right hand corner, so just picking out the berry there and the other berry and just bringing it to the outer edges. I just thought I'd create a tiny little flower in the corner there. And up into the top right corner. And also picking up some of the leaves now. Just going round that. So what started out as just little maybe a bed of flowers behind the white yellow flowers has turned into a kind of a lovely background. And it does take a while. When you get into doing something like this, which is quite intuitive and you're darting around, going from one flower to another, it actually holds your interest because it's also got that expressive quality to it. 14. Yellow Potentilla Details: Right, so I put my brush down a little bit more hands yellow deep still with my size zero Filbert, mixing a little of the white. This is the easiest kind of warm yellow mix. And now I want to just add back in some of the yellow. Just some little highlights. This is our way of taking care of the flowers that we've painted and making sure that they all get to sing. And you could decide to go quite bright with these. I think all I would caution is that we're using these neutral colors, and they all have equal value figuratively, but also paint value and tint. So, you know, we just need to keep a balance because if we put in a really acidy yellow or a very bright yellow, we'd lose that balance between the violet and the buttery white and yellow. So for this, what we're doing is borrowing from a gouache white to just make all of these beautiful neutrals. And I'm really liking this. I'm glad that I've done this because it feels now that they're moving even more forward. So going back to flaring the brush a little bit, flower and wiggle. And suddenly, it looks like the sun's come out and these little flowers are blooming. And whilst I'm here, I'm just going to add some tiny little blobs of yellow around. Not even trying to make them anything in particular. Just little blobs and the old dot. Because this whole process, as we've done before, is about tending to each of our motifs. So the more detail we add to one motif, the more it comes out towards us. And so we need to then go into the other motifs and bring them up, as well. It does take practice. And I think doing layered paintings like this gives us time to check in with ourselves and just create some restful, peaceful time, which we all need. So, yeah, I'm really enjoying this. I think that's a good move. It now feels very cohesive. 15. Finishing Touches & Reveal: Just casting my eye over the whole now, asking myself, is it working? And I want to add just some tiny, little highlights now in blue. So this just defines that background, a tiny touch. So we've got those little yellow almost flowing in the breeze, petals separate from the flowers. And now I just want to add a little bit of definition in the background. And using a neat color like this when we've used all neutrals is really effective because we're using it very sparingly, but because it's so bright, it kind of really makes everything pop. I think the charging thing with multi layered paintings like this is knowing when to stop. So I am going to be careful that I don't do too many of these because what happens then is I'll have to compensate by adding more details to the flowers and so on and so on. So it's very good just to pause and keep looking at the overall picture. But I continue my love for French ultramarine, which I think I hadn't fully appreciated before, so it's nice to work with it. It's almost like the sun is catching those lovely yellow petals that we added and also these little dots of bright color in the background. And adding some of these on the yellow flowers as well. I don't want them to just be in the background, just like little hints of this color. So looking over, I'm really loving that. I don't want to add any more, so I think it's time for the reveal. And the great thing about these thicker paintings is we don't need to wait. We can take that off straight away. Oh, little garden. I think one of the main reasons I like taping is because it does leave a little mystery towards the end, how's it gonna look, but also frames what we've done and gives it free reign almost. It's like it looks less busy actually when we take the tape off. But yeah, I'm so chuffed with that. 16. Thank You!: I thought it might be a little different if I shared some of the photographic work that I've done. I don't get out often, but when I do, I take loads and loads of photos. And although I may not use them directly as resources, it all kind of sinks in and inspires me in my work. I always aim for my classes to be informative, relaxing, and fun. And because this class has so many layers, I hope it's been accessible to those of you who suffer from chronic health conditions in that you've been able to rest between layers. And I also really wanted to focus this class on emotional health. I do feel it's really important that we take some time away from the difficulties of everyday life and just a place where you can completely switch off. So I hope I've managed to do that and that you really enjoyed it, and are taking a few of the techniques away with you, namely mixing a complimentary palette and painting intuitively also came in quite strong with this class and moving quite quickly so that our heads don't interfere too much. And just as we focused on the balance of the painting, I hope that this class has offered a little balance in your life. So thanks again, and I will see you over in discussions or on Instagram. Take care. Bye bye for now.