Loose Fall Watercolor Flowers

1. Intro and Supplies: Hello creative friends and welcome back to class today. I'm so glad you are here. It was a goal of mine, a personal goal, to create one more Autumn inspired class before the close of October. It may be October where you are. If you are taking this shortly after I've filmed it, it may be Autumn. But if you are located in Australia or anywhere else that is on the other side of the world, it may in fact be spring or even winter. I just wanted to say that you can save this class when you are in the Autumn season, or if you want to take it now, then I would love for you to be here. Because it is autumn where I am at. And it's really starting to feel as though we are embedded into this season, which is my favorite. Many of you know, I wanted to create one more class. You can see that I have this very full palette here. I have the pleasure of working on a bouquet commission, a wedding bouquet commission yesterday. And it included just the most lovely palette of colors. As you can see here, we have a quinacrodone, burnt scarlet, and we have a moms a yellow, and we have a pyal orange, and we have a green gold and some beautiful greens. I've gathered these colors over here, and I thought to myself, while I was painting, this would be the most amazing fall bouquet. We aren't going to create her bouquet just because that is one of a kind, but we are going to allow ourselves to be inspired by those flowers. I also take note, I'm going to be attaching inspiration photos to my penrist. I will provide a link in the class details so that you have that you can have a look at the photos prior to painting just to get a feel for the flowers that we'll be painting. And the colors will be using slightly different. If you don't have these exact colors, that's more than, okay, I just want you to have a similar color palette which includes auburns, gold, yellows, browns, mustard, and some greens thrown in there. So I'll go through the colors specifically in just a moment here. But I didn't want to assure you that so long as you have an atomy palette, the class is, it's going to go perfect for you. It's not going to matter whether or not you have my exact same colors. Okay. Anyhow, all that out of the way, let's just cover our supplies. Nothing particularly new here for those who are frequent returners, but we'll go start with brushes. The one brush that is new and I just wanted to bring it into our class materials. Because for those who take my classes regularly, I like to introduce some new component, whether it be a brush or a paper or a color. Just so that I know you're leaving with a bit of education you didn't have prior to taking the class. This is a size eight silver brush and it's the ruby satin. I got this on Amazon. I am in the process of creating a store front. It's taking me a while though. I'll just link this brush in case you're interested. It was inexpensive and I love it because it's a cat's tongue, which is a rarer brush to find. I do have a lot of filberts, but cat's tongue tend to be few and far between. This is a good one, it has a nice point. It creates some fine lines, but also you can see has a really big body here too. That will be our new brush that we'll use to create some of our bigger flowers. Then I have my trusty Filberts. I love my Filberts. I have the Umbria series and I also have the velvet touch. Those are both favorites, a size 4.6 which if so funny, if you look the four which is clearly than the six here, it's just funny how they number them. Just be sure to look if you are going to buy brushes. The size four in the Umbria is in fact bigger than the size six in the velvet touch. A couple of Filberts would be great. And then I also love my rounds. I use the Princeton Aquoli and I also love the heritage. I have a size 68.3 here, just a nice variety color wise. We're going to be using a blend of my Mary blue, Daniel Smith. I'm also going to throw in a Windsor and Newton Cotman, then also aqua. Let's cover Daniel Smith first. Since there's quite a few of those, we're going to be using the Hanza yellow deep the rich green gold Quinacridone, burnt scarlet, burnt umber. Then from the meri we're going to be using this sepia and burnt sienna. Then we also have from the Cotman a yellow ochre. Then I'm also going to use a touch of guash because I love this ashy green here. It's so great for Eucalyptus. I use it for a lot of my eucalyptus painting and just to blend with my tried and true always favorite Daniel Smith Undersea green, which I forgot to put that in there right nearby because I use it for everything. This will all be listed in the class details, but just to cover it, this is the ash green from the gas. Then the other color I don't have right here, it's on my palette is pyrole orange. That's right there. That the tube got annihilated when my daughter stepped on it. That's why I'm not showing it. But that's another color that we'll be using to blend and make our beautiful autumn palette. You will need a palette of some sort. I'm using my ceramic salad plate, which I love, a cup of water. Then we will also be using canson paper. This is the biggest block, but a big block. The 11 by 15 A block. Me A pad. A block. It's a really good size paper wise. Anything 140 pound cold press is fantastic. Again, you don't have to feel like you have to have the exact same supplies. Something similar will work great. Anyway, that's a quick rundown of our supplies. Let's go ahead and jump into our first flower. 2. Mums: Okay. Before we officially begin on our first flower, which is going to be a mum, I did want to talk real quickly about the paper here, just in case you are new to watercolor or just new to my classes. I wanted to mention that watercolor paper typically has two sides. So you're going to have a side that has a bit more grain or tooth, is what it's called when talking about paper in the industry. Then it has a side that's more along the lines of hot press paper. It's going to be smoother, not so much grain. I'm going to be using the side that is more textured just so that it picks up the paint and you'll see it solidify in the grooves of the paper. I didn't want to create a separate slide for this because it is just very brief. But I didn't want to talk about the setting up of a palette. If you have never watched a video about how to set up your palette, thought it might be beneficial to quickly go over that. I've laid out a few colors here. These are the colors that we will be using initially. This is the pyal orange, this is yellow ochre. This yellow, deep, and quinacrodone, burnt scarlet and burnt umber. I lay them out in a specific way, not necessarily this way every time, but depending on how I plan to use them. On the left side here, I have my oranges and my yellows. The reason I do that is so that when things happen on the palette and they blend together, Since I don't have separate wells here, as you can see, I don't have a palette that's separating each individual color, or a blend of colors. They're complimentary to each other. In fact, these are all very complementary colors. Anyway, there wouldn't be a huge issue. But let's just say this blue over here sank its way into the yellow. Well, now I have a green instead of a yellow. Versus if the quinacrodons burnt scarlet, you know, flooded into my yellow. Now I have something that's like an orange. I do that so that when things just blend on the palette, it's easier for me to work with what I have. This works for me. A lot of people like to separate their colors, but this is a great way for me to make sure that the colors I'm using are the ones that I, in fact, want to put on my paper. Okay, that's that. Let's go ahead and I want you to take your Filbert brush. I'm going to be using the Cicis in the velvet touch. Let's pull out a little bit of the Hansa Yellow Deep done that here already. We're going to mix that here at cough syrup consistency. Again, just to refresh cough syrup consistency is a 70% paint, a 30% water ratio. Then when we dilute that further by pulling it out into a separate pile and add more water, we create a broth consistency which is more along the lines of a 50 50 ratio. Can be more like 40, 60, 60 water, 40 pain. It all depends. There's a spectrum of consistencies, but that's typically how I describe it and how I understand these consistencies. We have our Hanz yellow deep and then we're also going to pull in a little bit of the pyal orange. I'm just going to blend that along here. And blend it into my broth as well. Typically, I'll just create one pile here and then I'll bring out the mixture separately just to alleviate the amount of steps. But I wanted to show you, just so you had at least one example of the consistency difference. All right. We have a nice orange here. Now I'm going to pull in a little bit of the yellow ocher just to make it a little more earthy. Okay, then I'm also going to pull out my other brush here. Give me just a moment. Working off to the side here, I have one more size six. I like to have duplicates of brushes. If you've taken my classes, you know that I like to preload my brushes just so that everything is ready to go with this. Because we're not working wet into wet. It's not essential that you have a brush ready to go, fully loaded, and ready to just dive into the wet media. It's more of just like an extra perk to have off to the side. And just saves me a step. Once I've started the painting process, I take that brush. If you're still using just the one brush, it's not a big deal. You can just rinse and then do this step. But because I have two, I'm going to take my inacrodoneburnt scarlet. And I'm just going to mix a little bit down here. Such a pretty color, one of my absolute favorites to use, especially for autumn inspired pieces. Okay, so we have a nice cough syrup consistency, making sure to clear out all of those little blobs that sometimes get separated. Okay. You'll see in the pentrast inspiration folder that the moms, they have this gradient of color where they start with a center that we're going to be using, brown, they move into this orangey color, and then they move into like a yellow color. So we're going to just play with that color palette and just have fun with it. Again, you have so much freedom here. And I hope that you'll revisit color combinations and take a stab at lots of different options because there's so many different ways to approach this flower. Okay, let's go ahead and going to take our size six of the heritage round. Going to plug into my burnt umber here and pull it off to the side to serve as the middle of the flower. We're just going to do a very gestural center. Those of you who are familiar with that word, because you've either taken my classes or someone else, or it's part of your own process. Gestural simply means to capture the essence of what it is that we are examining, observing, and trying to create. It means that we're not too strictly tied to painting it exactly as seen that there's room for interpretation and even turning it into something that is more along the lines of abstract for the middle of this flower, we're just going to paint like a dotted center. I'm going to put some little swoops in there. Just taking my brush and just flicking it around to create a middle that has some white space in it because we don't want it completely solid brown or else we're really going to lose the sense of it being a center and more of a, along the lines of a blow, something to this effect. Then we're going to take your six brush and dip into the nacrodone, burnt scarlet. And we're going to begin to apply little filbert strokes along the perimeter of this center. Just in case you are not familiar with the stroke of a filbert brush. Let me just show you what it's capable of. If we were to do like a downward stroke, it would look like that, Almost like a little thumb print. If we were to do a sideways stroke, we can come up on the toe of the brush here for a nice thin stroke. And then the other way we can come down and pull up, then we can go straight across. There's lots of different ways that you can change either the positioning, the pressure or well, yeah, that's basically it. Just the positioning and the pressure of the brush to create different petal shapes. All right, let's go ahead and we're going to create a little filbert, that first stroke that I showed you. It's okay if you touch that center, then come up on the toe of the brush to create some different shapes of strokes. You don't want them all to look like that, you want some variation within the petal. You can even go back and add just a little bit of variation. We should have something that looks along the lines of this as our flower. That's our first layer if you've ever looked at a mum. It's so intricate, Intricate enough to thoroughly be able to overwork. We're going to avoid doing that and just try and capture some of the detail of that flower later on in the next. Segment, we're going to do A daisy. Are B daisy, which is essentially just a larger mum, sometimes, it depends on the species of flower, but we're going to do that on a bigger scale. But I did just want to warm up here with our mom. They're smaller, they're more petite, they're an awesome filler flower. Those who are looking to find a flower to just pop into bouquet that has larger focal flowers such as a daisy, pony, rose, magnolia, any of those large flowers. This is such a great one to accompany, it has such a great shape and so much beautiful color. Okay, that's our first little layer here. Now let's dip into that mixture that we first created. That's the broth consistency. The pyal orange, the yellow ochre, and the hansi yellow, deep. And we're going to plug in bigger strokes here. What we're going to do, this is my little tip. Because what ends up happening is people just naturally do the same stroke on top of the petals that they've just created. This is my tip. Look for the white space in between your petals that is naturally where that next petal should be. This is going to give it a great shape. It's going to also give it an organic feel so that the flower doesn't feel stiff. Then again, remember that you don't want to do the same stroke over and over and over again. Move your fingers back and forth, changing the positioning. And your wrist come on top of the brush and then off to the side of the brush. When I teach one on one, these are the tips and details that I tend to include because they are often overlooked, are what come down to bringing that wow factor into your flowers. You can use beautiful colors and you can use beautiful inspiration photos. But if you don't understand the capabilities of your brush, you're really going to be limited in what you're able to do, and your flowers will come out looking, um, very stagnant and just not having that wow factor like I was describing. Let's go ahead and head in. I see a nice big white space here, so I'm going to plug in here. Now if your media is still wet, then your strokes here are going to blend together, which is fine. I just want there to be enough differentiation so that you can see that it is a new layer of petal. I'm just plugging in, taking a break, making sure that I'm getting that nice circular mum shape. We are doing like a straight on. We'll do some different positions here in a moment, but let's just start with that. You can see I'm constantly doing one of these things. Moving my wrist around, that's something to practice off to the side. Prior to either the class or just in general. You want to make sure that everything isn't lining up perfectly. You want to make sure that there's some white space in between some areas and then also areas where everything is touching because that's what happens in nature. You see it overlaps in a large area and then maybe there's just a giant white space here where the petals just haven't clustered again. That's another one of those tips that I throw in when I'm educating one on one. When you intentionally do something like this, leave a nice chunk of space, it gives that flower the sense of, oh wow, it looks like what you would find in nature. Because those petals, they overlap and get real crowded in some areas and then they're sparse in others. Let's go ahead and do that again. We're going to do a little bit bigger then we're also going to blot off a little bit here to get a little more of a super broth consistency like 80% water and 20% paint. You can see we have some blending happening, which is great. Hopefully everything's working together as I'm pulling you along with me. But if not, you can try this again and again. We have a lot of room here. Just for the sake of time, I'm going to move into different positions of this flower, because I want to cover that. Because pulling all of these flowers that we're learning bit by bit into a bouquet, and every flower is not going to look like that. We're going to have some off to the side. I'm going to do that in the next slide here. But if you want to practice that prior to moving on, you can. That's essentially it. One little just option that you could take on is doing three layers. You could do that brown, which I suppose counts as a layer, but you have the brown center, the inacrodone burnt scarlet. And then you could have more of an orange layer here and then move into that Hansa yellow deep. That's really light. Again, like I said, a mom is one of those flowers that you can really overwork if you're not careful because it's not on its own. Again, another one of those tips. You're going to be putting it together in a bouquet that has a lot going on. You, you may want to omit extra details just for the sake of rest within your painting. Anyway, something to keep in mind? Just wanted to add those little tip bits so that you can make those decisions as you're moving along. 3. Mums Continued: All right, moving right along here, we are going to be doing the same concept, but we're going to put this flower on its side. Let's dip into that burnt umber. Make sure you mix those little goobers. I call them very professional. Thank you very much. Let's go ahead and practice this flower, what it might look like on the side. There's a lot of different ways to approach this sideways. Mom and I'm going to go through a few of them. Let's go through the first one, which let's say it has a little bit of the middle showing. Let's go ahead with just some gestural marks here. Let's just say, okay, there's something happening along those lines. Then we would move into the quinacdone. Burnt scarlet can blend here. We have that first sideways look. We could put something here, which I'm going to do that this time to create a bottom row. Then we can leave it at that and then head into that next layer. Same theory applies here, moving a little quicker, bleeds are happening, which again, it's all about timing. The thing you want to keep in mind here is that the sides are going to be the widest. What's going to happen down here is going to be the most shallow. You're going to not have the depth that you would typically have. That's how you're going to get that side was appearance then you can take it one step further if you like, add that third layer. But again, you're wanting to leave some open space here and not extend the depth too far. Okay, this is our first sideways mum. What you would do here is you would take your brush now and create a nice thin stem and connect it wherever you're connecting is. Okay. That's the first way. That's mum with a side showing. If you wanted to not have the side showing, you would just go straight into the Quinacrodone. Burn scarlet. Again, I don't think I said this initially, Hopefully it was obvious. But when you are, or positioning a flower on its side, you need to be working with the angle of that position. You can see here, I'm coming head on here, now I'm working towards the left. Same theory applies. If you're extending a flower on the right hand side, you're angling your flower to the right. I'm going to go left again. Here. Now we have a mum that is on its side. No center is showing. The tricky thing about these flowers you might discover is that it can be hard to keep them petite. We want to keep them petite because they are a filler flower. They're going to end up looking too much like the daisy if you're not careful, because those strokes are going to be a lot wider and fuller. We like to have petite flowers. I chose these two specifically because they go so well together, but it is something to keep in mind. Okay, then we head in with, we have a nice little orange happening here because we're working really quickly. Wet and wet. If you would rather have that differentation, then you need to wait a little bit, or you need to make sure you're leaving some space in between. But both ways are pretty. Um, my style of teaching differs from some other teachers, which is that I never want you to feel like you're creating the exact same thing as me. I want you to put your own personality and just what you've learned along the way into your process. Your art shouldn't look like mine. I'm giving you the education and the foundation for rush posture and color possibilities. But in a sense, be the gestural version of you. They should take on nuances that are yours. This is very clearly like my style of painting, flowers. And I want you to feel like you can bring your style and your choices into how you create. All right, there we go. We can also not extend this mum to keep it petite, or we can make it fuller by adding more petals. And then what we can do here, again, is bring down the shallow petals. Now we have a Mm that's on its side, but there's no center. You can see the difference here. The last way to do that is the same thing. We just wouldn't add this layer. I'll do that really quickly. Again, the quicker you work, the more bleeds you're going to get. We have a really petite little mum here, and you can see they gradually got a little bit smaller as we took away details. Each time you had a layer, you need to respect that layer and give it its moment. They get smaller here. As you take away components. This is something that I want you to instill in your bouquet. If you do not apply variation to your flowers and each flower looks like this, it's going to have a very overall stiff feeling. But if you take on the possibilities of the flowers, you're really going to find that the value, the bouquet has so much more value and interest, which is always what we're aiming for when putting together a composition. Okay, those are the different ways that you could approach that, mum, just for the sake of showing you the other direction, you can do the same thing. Really bending my wrist here, normally I would move my paper, but pull it that way. Now I really have a flower that's on its side. You can see all the same concepts apply. Then I'll just use a brown here because I have it on my brush. Take you, pull in a stem. We'll go ahead and do that with the rest of them as well, rather than creating a new slide. I'm just going to pull all of this together. Skillshare likes me to break things up into tiny little bites which I totally understand but sometimes it breaks the flow of painting. I'm just going to t this one on because it is such a short little bit stem placement. It's important. You don't want to have a stem for this flower that's like floating off to the side and looks disconnected. You want to, okay, looking at my flower, where would the stem possibly be? You also don't want a lollipop stem. Lollipop stems are, when you create a stem that's perfectly straight and you have this little pinwheel shape and it just looks like a lollipop, You want to have some movement within your stem. Try and find a curve, even if it is just a front on flower like this, Try and find a way to make it just feel a little bit more alive and have a little bit more movement to it. I'm going to plug in right here off to the side where I see this white space. Just put it a little bit of shape to it. Same thing here, off to the side here, Just using a little bit of movement to bring it in. Obviously, you change the direction of the stem depending on which way it's going. That is our mum simplified. You can see there's just lots of different ways to do it and tons of different color capabilities. Just for the sake of a loves Autumn. Let's do one that has a layer feel. I'll do that here. All right. We have that center, that's just real tal, just a series of lines and dots. Then we'll plug in here. This is why I like having two brushes because I can just move quickly and they're prepared for me moving through. Then I'm going to rinse that brush, dip into my piral orange over here. But I don't want it so orange that it's like screaming orange. I'm going to tone it down with a little bit of burnt umber. That's a burnt orange. Maybe that's where they got the name burnt orange from. Pull that off to the side and now I have something that's broth consistency because I don't want it too dark and I'm going to look for those areas of white and plug in here too dark, blotting off there we go. And I'm just going to start plugging in here. Okay. I like the areas where there's a little bit of intentional white space. I like the areas where it's bleeding in, the areas where it's not all of those variations really help to bring value and interest. Okay, then let's do that third layer. You're going to see the mum just is gradually going to get much bigger, some chrysanthemums. It depends on, like I said, the species of the flower. These are little, tiny, dainty ones and I'm using them as a filler flower for the bouquet that we will eventually be pulling together. Okay. Now we'll really go into broth consistency here, blotting off again till I get something that's much lighter. Always keeping mind of, okay, the shape and the positioning. How am I going to make it feel natural, not overworked. Then I end up with something that's like this. You can see we lose a little bit of the shape, We can round it out, but it just is going to get bigger if we were to have something that was on the rounder side. Sometimes you can even do this with your pencil just to give yourself a guide and then you can erase it later. We can fill in that area and get something that's more round. Then you take your brush, there you go. There's a really fun stem. No lollipops, there have something that's just loose, but a little bit more detail. Hopefully that gives you a fair understanding of the mum and how to approach. It's such a beautiful flower and I look forward to seeing how you use it in your projects. All right, let's move on to daisies. 4. Daisy: All right, so you see I've made a little bit of room on my palette off to the side here, which is because I'm going to bring in a little bit of the rich green gold. So go ahead and dab a little bit of that onto your palette. Then we're going to mix that together and begin working on the daisy. I'll be using both a size six in the velvet touch and then a size four in the Umbria here to create the daisy. Same theory applies for the mom. You can take a look at the daisy. I invite and encourage you to do that, because again, that will bring in more of what you see. Gestural is such, again, a spectral. A spectral, it's not a ghost, it's a spectrum of observation. Gestural to you is going to feel different than gestural to me. Please feel free to have a look at the subject matter and make those decisions for yourself. I'm going to do something really light and loose, and gestural for the center of our daisy here. I'm also going to use the number six brush for the same thing that we did with the mom, just that loose center. Let's pull into our green gold here. I forgot. This really is more along the gold. I have a, my Mary Green gold that is not quite as gold. It has a little bit more green in it. I'm actually going to pull in a little bit of my favorite tried and true, very well loved Daniel Smith here. If I can even plug it, which is so fun. Do you have as much joy as I do pulling out the plugs on your water colors? I am one of those tactile people that find way too much joy in picking at things. Anyway, I'm going to pull in a little bit of that, Daniel Smith, and then we'll mix that green together. All right? Pulling that green into my green gold, a nice cough syrup consistency, then I'll bring it out one more time to get that broth consistency. I just like to see the differences in colors. You can see there is quite a bit of difference. Sometimes that nuance makes all the difference in the world. I'm going to start with that broth, then I'm going to layer cough syrup consistency on top of it just to bring it to life here. Okay. Again, using that number six brush. Let's go ahead and pull into that shape. Now, with the mum, that center was smaller than a dime. You had something that was on the petite side because it's a filler flower with the daisy, It's a much larger flower. They can actually be really big. It depends on what size flower you want. We're going to talk more about that because it's so important. And I want to just emphasize that having shapes of flowers, having different positionings of flowers and sizes of flowers, those are all the components of composition, including color, that we have to keep in mind when creating a bouquet. You don't want to have all your focal flowers be the same size, even if they are in nature. Um, nature, them, Lorem, it's always going to look beautiful because God created it. But when we try and tackle those same concepts on paper, we can get, but we cannot achieve the excellence of what is actually in nature. Just keep in mind that the bigger your center then, the bigger your petals. So you may want to tinker with a couple different ways to do that. All right, heading in here. I'd like to start with a nice wide center leaving some white space and then filling in a little bit of that. Then I'm going to take the brush and I'm just going to come around it to create some of those daisy is feels because it has all of these minuscule little petals around the center. And again, it becomes so overworked if we're not careful, but we want to bring out some of those nuances. It's like a sun, basically. A sun that's not filled in. This is about the size of, I would say a nickel, not quite quarter size. All we have that first little layer here. Then we're going to move into our Cronacrodone, burnt scarlet, and we're going to use that at a little more than broth consistency, but a little less than cough syrup, if that makes sense. Something right in the middle, I'd say more of like a 60% paint and a 40% water. I'll show you why for this daisy. I'm not going to do two different colors because we're already going to have that within our mum. If we were just making a bouquet of daisies, then absolutely, please, I would love to see so many different variations and colors because you have one flower. The idea then is to find a way to make each flower have its moment while complementing the one beside it. But when we are pulling different flowers together, we have to be careful and think about each of those components to be sure that we are serving the overall painting and not just the flower itself. All right, so these strokes are going to be a little bit bigger because the daisy is a little bigger. So you can lean into the pressure here a little more and begin feel free to overlap some of the areas that we just painted. In fact, I encourage you to, it'll have a more natural feel to it and to leave intentional white space between petals. Then we're going to do the same thing, looking for that white space. And this time we're going to do a combo stroke. I just did that very quickly. We have one side of the stroke and two sides of the stroke. You can just do one giant stroke, but I don't like the way that looks. If you see the difference here when I'm pulling down, it just makes this awkward. Even if I really try and like, okay, make it as beautiful as I can, it just isn't the same as if I do one stroke and then two strokes. One stroke and then two stroke, you're just going to get a better result that way. Tinker and practice. Okay, so we have a daisy, that's the intention was to put it basically front on, but again, you end up with that lollipop look. So I do take certain precautions, I suppose, in making sure that it's not going to look so stagnant. So I'm really, again, manipulating the brush and making sure that I'm coming at it from different angles and feeling like doing a copy and paste stroke. Okay, there we have that. The one step further again, I'm going to do the inacronone, burnt scarlet. Now here's what you can do. You can play with the ratio of water to paint. We had more of a cough syrup in this initial layer, and then we had more of a broth. And now I'm going to go back to more of the cough syrup so that we have a difference of stroke here. Your stroke should get a little wider. So you're adding, tacking on petals. Still using that two stroke method. Now make sure you're taking a moment to monitor the flour. You don't want to lose the shape. You don't want something that looks so obviously, copy and paste. You can look at the flower and I say, oh, that's a little bit too much white space here. I'm going to just fill that in a little bit there. These are looking a little too round to me. I'm going to add just a little bit of variation there. Just making those little minor moves really helps benefit the flower overall. Having some petals that are larger, some that are thin. Again, all of that really plays a huge role in just the flower overall. Just taking my brush and pulling those petals in different positions. Then since we just have it here, here's my brush, taking that green gold, pulling a stem down, imaging in it, on its side here. We'll play with all of this fun stuff. I just made a mistake, I turned it into something there. But we'll play with all of the little dainty aspects of this flower later on. But you can see here we have something that's head on, but it's also a little to its side. Those are going to make a huge difference just in the flower overall. Hopefully, that feels like a solid understanding of the daisy. We're going to do it in a couple different ways just so you can get a sense of how it works. But I'll stop here just so we have a nice ten minute clip and then you can head in to the next. 5. Daisy Continued: All right, so let's go ahead and do that again. But this side this time putting our daisy on the side. We'll start with some of the center showing as with how we did with the mum just creating that nice center here. But the difference is as we don't come full round, the idea is that we're creating more of a jelly bean shape. Something that's more wide than it is round. What I just realized here is that I never pulled in the size four Umbria, which was why our petals didn't get too much bigger here. We compensated for that by using the two stroke petal, but I'm going to do the same thing, but using this size brush, it will accomplish what we did here in one stroke. There's a lot of times when I'm painting when I just get lazy and I decide not to use the bigger brush for the bigger petals. Just that's my style of painting is constantly to just adjust. Because when I feel like an artist gets too attached to it has to be this way. I have to have this brush for this petal. Then they're not as flexible and maybe not even as compassionate to themselves when they're painting. And they expect perfection. They expect the same result over and over and over again. And that just never happens in art. You're always going to have a slightly different version. Even if you were to paint the same flower with the same colors in the same five minute window, it's going to look different, even if you tried to do stroke for stroke anyway. That's the understanding and maybe my excuse for not using that brush. Let's go ahead and we'll do that this time using the sideways flower going to dip into that Rinacrodone, burnt scarlet for that first layer. But again we're remembering it's on its side here. We're going to have more of a shallow depth here. But because it's a daisy, we do have a little bit more room versus the M that was a lot more petite. All right, now we'll take our Umbria size four and dip into the Rinacrodone. You may need to even reload your Coinacrodone if you're running out of it. It's a color that it gets used quickly. At least I notice that where some of my other colors seem to last forever, like this Honda yellow, I feel like I just a tiny little bit of it and it goes such a long way. Okay, I'm going to show you up here what we have as a stroke. You have a stroke in one that was doing the same thing as the two over here. You can do a combo 1212 and have something that is a little bit thicker. You can even increase that pressure here and get something that's very wide. It's all dependent on how you're using the brush and how much pressure you're using. All right. Just reviving my Quinacrodone over here. Okay. I'm also going to curve my petal here because in the daisy you'll see that there's always these really cute little curves. You're doing the same thing that you're doing with that pulling down stroke. You're just coming from an angle. You can see I'm twisting my brush here, instead of just coming straight, you're on an angle. And then you're pulling it this way like a rainbow. Again, be careful of the depth here because it's going to end up looking like it's not on its side as much. The daisy is simple and sweet as that flower looks. It can be, at times, tough to capture because it is essentially the same strokes over and over and over again. Whereas with a rose, each petal is so different from the one on top or beneath it. You also have to keep in mind too, is that a daisy head on its own just looks very awkward until you put it next to a different flower. Say we were to have a flower right here up against the side. The flower makes sense, if that makes sense. And I'll do that in a minute here. If you have a flower that looks like this and you were to just pull a stem into it, it'd be okay. But when you have another flower up against it and it's doing its own thing, all of a sudden it makes sense together as a whole. When I was a beginning watercolor student, I would paint something like this and just be like, oh, it looks so wonky. It's misshapen. It just doesn't have a good feel to it. But as I continued to explore and give myself permission to make mistakes, I found out that the more you add to it, and not necessarily the more, but the decisions that you make can benefit the whole painting. Just keep that in mind and be gentle with yourself. Okay, then let's take our expression. Just dab in here for just a little bit of color. Really beautiful green gold there, leaving a tiny bit of that white space. Okay, now we could take, this is one step further, which I'm going to do just for the sake of showing you that we could dip into the Quinacone again and really pull out a lot of color. And go over that first layer so that it's much darker. Now, you have a lot of differentiation between the layers. You can keep doing that. Like I said, I just caution that you don't overwork and you're just mindful of what it is that you're doing. But you can take that concept and continue to apply it. But again, remember we're pulling this daisy into an overall bigger piece. Okay, now back to making sense with a flower like this. If we are putting it into a bouquet, let's just say right about here is where I have the center of my daisy. Let's say it's pointing this way, so I'm going to angle that center, right along these lines. Nice little gestural center here, pointing this part down. Now we'll take our six in the velvet touch. This will help give you a feel for how we put the flowers together in a bouquet, because that's a whole different ball game. Then we head in with our fore brush and the Umbria, we're going to start putting the petals down below. Pardon? That really loud motorcycle that just drove by. You'll see as this flower starts to nestle up against this one and run into it. Here's where I really would invite you to turn your paper so that you're actually able to get the best stroke possible and to just see what's happening. I would turn it here that it's on its side, let's mend those petals here. I'm also being mindful that I want a different size daisy. I don't want it to be as big as this one. I want it to be a little bit smaller. Just to invoke variation, you can see it's overlapping a little bit. Now I'm ready to turn it back over. Okay, I love where that's at. Now, let's pull it together. Were these just a single double stem? I have a stem that's around this area. Then I have this stem that's going to be poking right around here. You can see it starts to make sense. Then we begin to add in leaves. We could do some really thin. Then leaves here. Just keep it really gestural. Like I said, we'll go into creating leaves and how to pull it all together in our bouquet, but you can see, okay. Now what looked really wonky before makes sense, because we have this flower that's pushing up against it. I hope this feels very informational to you. This was life changing for me to just bring a lot of drama to this class. Because what would happen is that I would get here and I'd be like, oh, I need to start over again. This didn't work. And I would just throw the paper off to the side. Decided that it was ruined initially. But then eventually I was like, I'm just going to keep going with it. I'm too tired. My baby's going to wake up from her nap because if you remember, I have an almost seven year old, and this is when I really started leaning into my craft. I did not have a lot of time. I was tired. I have chronic illness. I had all the excuses in the world not to paint. I decided I wasn't going to let that stop me. It was such a benefit to have these limitations. A person who is relying on me and a time limit to do things. Those of you who have like endless time, which I don't know anybody who does, but it can feel like, oh, well I have the time, so I'm just going to start all over again. But when you give yourself a time, you're like, okay, I just have to work with what I have. You become better, your skill set get stronger because you learn how to adapt. And just get more flexible with what's happening on the page, rather than trying to make it perfect. The first time, I'm going to climb off of my pedestal, or my podium here, and bring it back to the art. But I did want to just throw that little bit of education into it and encourage you to work with what you have. Don't always start over just because it didn't you didn't nail it the first time. Okay. All right. One more. Just a real quick on its side daisy, just so you can see what it would look like with no center. All right, so heading into our knacerdone burned scarlet. We're going to curve upwards here. Really playing with the angle and then just blotting off a little. I really don't love the daisy without a bit of center in it, to be honest, just because it does start to look one dimensional. But what we can do is we can pull in a little bit of the pyal orange if you want here. I wouldn't suggest doing this with the mum because it just all starts to be a little much. But what we can do is pull in a little bit of the orange. Now you have something that isn't quite so one dimensional as far as color is concerned, the color capabilities are endless. I hope that you'll have fun with this palette and really allow yourself to play with it. Then we have just a little bit of petaling here on the bottom to make it seem as though this daisy is quite on its side. Just filling it in here, you can your daisy one step bigger. So you can take that number four, number four brush, go in again, but again, you're going to get those bigger strokes and you may lose the delicacy of that daisy. Sometimes I like the smaller brush, especially for the daisy on its side, because it doesn't make so much of a statement Initially I have to play with it. Again, this looks wonky on its own, but once you start to pull it all together, if you were to put it with these two, you can already see, okay, I have this one, this one. And then if we were to just chunk this one into the mix, I don't have room here, but, you know, it would all start to work together. That is hopefully a really good thorough understanding of this flower, how it can work, the choices you can make, and just working with what you have. All right, we're ready to move into our third flower. 6. Roses: If you've taken my classes, you know that I love painting roses. All variety of them. Mostly garden roses, that they have more of a peony shape to them but still feel very rosy. We'll be taking that approach to this flower, but there are so many different kinds of roses and if you feel like one rose is more up your alley, then you can Absolutely. I'll include a couple different inspiration photos. You have different flowers to choose from, but I just wanted you to know just where my thought process was at, just for the overall benefit of the painting. These roses are really swoopy. They feel gentle, but also full of lots of movement. One thing I did neglect to mention is that we'll be using a little bit of white Gh. I was tinkering with either using the white guash or creating this peachy color, just using a pink, yellow, and a little bit of the cornacrok. Because we have such these rich, vibrant otomy colors, the rose will be benefited by just having a softer, more muted color. All right, so let's go ahead and create that together. You're going to take your Quinacrodone. Make sure you have some space on your palette. I'm going to add a little bit more here just in case I need it while I'm painting and I don't want to pause. Then I'm going to add in the white guash, which is really going to make it a sweet color. Then what we can do is also bring in a touch of running out of it over here, which is the burnt umber. To mute it even further. We don't want it so much to be tan, but we want it to be like a peach along the lines of coral. But again, this is something that you can play with. There's again that spectrum of color where you could add a lot more white and get something that's a lot lighter. Which is what we're going to actually do when we put it all together and paint. Because we're going to want that, that look where we have one color of a rose and then we have the rose next to it looks a little bit different. We don't want to have the same exact color and shape of flour. All right, for this flower, we're going to use our six brush. I'm just blotting off previous color. You may need to swap out your water, so take a look at it before you begin blot off your brush and clean them if you need to. Then we're going to head into our mixture. Here again with that center of the rose is just a series of mark making. It's going to be C shapes and lines. It might be something that you want to practice off to the side just to get a feel for it, you're basically ring and creating this v in the center. I've talked a lot about the Vortex in previous classes. If you're not familiar with my classes or my roses, that would be a good refresher class for you to take prior. Just because I break everything down slowly. Versus this class where there's intermediate concepts and we're moving more rapidly through the content. Okay. You have something like that to begin with. Then you can use six brush your filbert to do the same thing but just bigger. You're making these connections here using your filbert brush. Dragging the brush along its side. Remember you're curving everything inward, but you're also playing with variation. You're doing petals that are this shape. Petals that are petals that are shape shape, You want different positions in different shapes. You're also looking for that space between the petals here, where the next petal would essentially go, and playing with the posturing of the flower. Okay, I like where that's at. Now, we talked about using this brush right here. It's, it's going to bring a whole different feel into the way that you create your petals. And you may love it or you may hate it. But the idea, like I said, is just to give you a new tool perhaps and just a different way to approach flowers in general. You might love it for leaves, but hate it for flowers, which is totally fine. Let's put that in. We're going to add the bigger petals. Now I like this the size that it is. And we'll use some this size in our painting. But if we wanted to have a really big focal rose, then we would continue adding the petals here. And we would also make them a little bit lighter as the flower expands, add some water to your mixture. I had a little bit of green on this brush, you can see because it turned it here, I thought I blotted it off, but I don't hate it because it adds a bit of a nude color to my pink. If you don't like it, then you might want to. Sure. Whatever brush you're using is just thoroughly rinsed off. All right. Here we're just playing with strokes. I'm going to show you this and then we'll do some strokes up here that I want you to see how it works. We're taking the brush and we're just moving it on its side and then we use the toe of the brush to roughen up those sides. I've shown you this with a filbert, which is very similar, but you're going to get more of that jagged edge with this cat's tongue because it's more pointy. It doesn't have that oval again. We just play with the rows here until we like where it's at. We want to make sure we leave white space. That's very important then it makes sense when we put the stems in it together, this is like a head on rows. You can do at this point. To take it one step further is go back into that darker color and then do some wet into wet. So you would take your six brush and you would run along the edges of the lighter color and it would now bleed into this second color that we have here. That's a really beautiful way to bring a little bit more life and movement into the rows. We can keep it really simple and not do that. It's completely up to you. I'm just showing you different options. All right, let's just head into this brush a little bit here. Your run of the mill stroke is going to look like this, Very similar to a filbert. But if I take it up on top of the brush, you're going to have a nice thin line, something that you wouldn't get with a Filbert, not even my little one, because you have that toe and you can get really thin with these strokes, which is a benefit when you're creating petals that have like the daisy. You could use this absolutely for the daisy, you could create a petal like this and then take your brush run along the side to create more of not an organic shape, but just a different shape just to give a couple of those petals a different look. Same thing. If you're going to the side, it can create a really pretty shape. We're going to use this for our leaves too. I love this brush for a specific leaf where I'm really taking the bristles and rubbing them back and forth. But just for the sake of petals here, this would be more along the lines of a day. Could even do like a three pronged petal here. Just play with it. You may love it. Just allow yourself to tinker. I believe I think this brush was something like eight or $9 It might be more expensive now because Hello inflation. But it was worth the investment. I got two of them just because I love to load my brushes and have them ready and off to the side. But one will do. Okay? How we use this for the rows, that cuddling shape? When we have the exterior of the rows, we're taking the brush on its side and we're just cuddling our petals. Here we introduce variation by that twisting of the wrist and the twisting of your fingers. Yeah, there you go. You use the toe of the brush. Then again, you're using the toe of the brush here to just give it some shape. You're making a nice shape here. And then you can bring the brush up, give it a little shape. The more familiar you are with the subject, the easier it's going to be. Because you're basically, bring that flower from your mind's eye onto the page. Some people like to have a reference photo. I do that when I'm painting like ornaments and I want to make sure I really capture exactly what it is that I'm painting. But with water color, it's such a loose medium that I've painted roses now for ten years. I know what roses I like and what I want them to look like. But you might benefit from having a picture in front of you. Again, just taking that, finding those natural spaces where you might add a petal, bringing that rose around. And then you can even use this brush for the center so you could take the toe of it. And you just gradually start making those lines smaller. I don't like it as much. I feel like it doesn't quite have the same feel as something like that. Where I've taken more pains to get out that extra brush and have a lot of differentiation between the layers. But it's a really beautiful, simple rose. A lot of people love this just very loose look and it benefits. It feels right and natural to them. Again, I'm just touching it now, but again, I might see, okay, here's a petal here. Let's add one more right here. Bring out a big stroke, then come on the toe of the brush. Continue that petal down here, then just to give it a little bit more balance. Bring it back this way. I need a little bit more room up here to continue and bring it again. It's one of those things where the rose feels just very wonky and not as it should be. But then when you start adding leaves in and pull it all together, it starts to make sense. Versus something like this. It has more structure and it already makes sense to the eye. You know exactly which direction it's in, you know where the center is. But this style is really beautiful for those. Later on they add the details, the leaves and the stems, and the little mark makings that bring it all together. Both approaches are really beautiful. It's just up to you as the artist to decide which one do you gravitate towards more. That's our peachy pink rose. I'm going to stop the segment here just so that we have a nice block, and then we'll move into a paler rose that we'll use in conjunction with this color. 7. Roses Continued: All right, let's go ahead and tack on to this rose that we have here, just so we're getting a sense of how the flowers are going to come together. First we need to come up with our color, which is going to be a mixture of this burnt umber and the white quash. I always say this at some point in my classes because there's always somebody new here. If you have not already discovered my vintage color guides for color combinations, I highly recommend it beginning with just the original vintage color guide and then you can break into different colors. There's a series that are just focused on white, that's the enchanted series. It's all combinations that you can use to make whites. And there's a golden series, and that's greens, and golds and browns. And then there's a sunset series, which is red, oranges, and yellows. I just break up each color family for you and give you my own color recipes. They are so well loved. People have just told me that this is the most valuable resource that I've ever provided. I only wish there were more colors so I could keep playing and providing color recipes for you. But essentially, I've given you the education and now you can make as many color possibilities as you want. But anyway, just wanted to mention that you can head to my website under artists resources, and you'll find the gamut of guides for you. Okay, we have this tan mixture here that we're going to pull up against this peach rose. Now if you wanted to just cool it out, you could bring in a little bit of a lamp black or pains gray. I'll pull that out of my box right now. Just I just know where it is and I have it. This is a Jains black. You can see it says blue, orange here. That blue is going to bring some cool color into the mixture. I like the warm because it's autumny, but it also provides a little bit of contrast. I'm just going to do a tiny little bit because you can see it goes a long way and you can see that blue. That's just making it look a little bit more cooler. All right, let's go ahead and create our center. Let's create a rose Now that's a little bit more on its side. Oops, I just blobbed into the quin acer down here, and let me get it off my wrist, and then make sure I don't dig into it again. Let's go ahead and put it right here up against the side. We're going to imagine that the center is right about here. And we're just going to begin again with those C shapes. Just cuddling it. Don't overthink it. You can slow it down. Slow down the process and feel like you're getting a perfect little vortex. But I find that the less I try and make it perfect, the better it ends up being all something that starts out a little bit like that. Then we have our number six brush that we were using in the Filbert. I'm going to plug in there the same way. If you need to turn your paper, go ahead and do that. I never want you to feel like you have to paint like exactly like this because it can be a little stifling. Let's begin just running these shapes and variations up against the side of this rose. I'm going to blot off a little bit here. Just as we're getting a little further out within the rows. And I'm going to turn the paper a little bit too, just so I can see. I want to make sure I'm getting the right direction. I'm angling this row this way, so I want my paper to be in that direction. You can see just by blotting off and having more of a broth consistency here. You can see those layers forming. Then you can go ahead and take your six brush again, lean into the darker version of that color so the cough serve consistency and just begin plugging in that darker color for some pretty bleeds. Turn the paper back around so you can see tinkering with it. Now I want to make sure that everything's looking like it makes some semblance of sense. So that when I put it all together and start adding stems and leaves, then it feels very natural. Same thing, were we to use our silver brush for it, let's go ahead and try that. So we start with our center here using the toe of the brush, and we just begin that cuttle of petals. At the very least, my hope is that you'll try a cat's tongue brush out if you haven't already and see if it's a tool you might want to add to your, your tool box. Just using the toe to add a couple more details. I didn't quite as embellish this row as I did. I wanted there to be variation between this very simple approach to more of a structured row. You'll look at both of these and one of them will just feel more natural and something that feels right and good to you and your process. That's always my goal as your teacher is to show you all of the options and then let you make those decisions. Hopefully, that feels like we covered quite a bit of information and you can decide heading into our pulling it all together which way you want to do it. Because even if I'm painting more like this, you can still use the same concepts, painting more like that. All right, that wraps us up for roses and we'll begin playing with stems and leaves and pulling it all together before we move into our final segment. 8. Leaves, Stems and Foliage: Okay. My beginner friends. If you don't follow me on Instagram, then you may not have seen this. But recently, I did a then versus now series where I shared my very early work as a beginning artist. And I wanted to share it here too. Because oftentimes when people upload their class projects or they share their work on Instagram and Tag, they say something along the lines of cars is so much better or more detailed or something to that effect. And not yet. One of my dearest friends who's a teacher, teaches his students the power of not yet. When they say something to him like I'm not able to spell as well, he says, not yet, you can't do that yet. It's a matter of getting there and putting in the time and the practice really making an effort to improve your skills. Anyway, I just wanted to share with you a few of my beginning pieces. As you can see, I love them. I truly do. Because they remind me where I come from and they remind me that I was brave enough to make some really bold choices. And when I talk about roses or leaves or elements that feel stagnant and stiff, I look back and I think this is what I'm talking about. But sometimes saying it and showing it, there's just a world of difference. I love showing my older work how you can see how things are just so stiff, so linear. Even though I did inject a little bit of movement here, still you can see moving from that to something along the lines of this. There's so much more movement within the work now because I've really practiced. It was just a matter of not yet. I'm sure I told myself at some point while painting pieces that looked like this, that it was never going to happen. I was never going to grow and get better. But you absolutely will. It's just a matter of not yet then when I talk about overworking a piece. Hello, flowers. I don't even know what these flowers are. What flower is that? I couldn't tell you, but man did I have fun with the black paint? Who knows what I was going for. But again, just very stiff trying to add detail and then adding too much detail. Just not really understanding what it is that I wanted to create. Like you see this flower is just floating. It's supposed to be in here, but there's nothing to really tether it to the page I like to go through and not necessarily criticize, but offer some constructive criticism on my own work because it might actually be in fact applicable to your work. I'm always happy to share my earlier pieces or to talk with you about you as a beginner and the power of not yet. Because it's so valuable. It's so important that you remember it's not linear growth. There's going to be seasons where you explode. Your skill just gets exponentially greater. And then you're going to hit plateau where things just look like this for a really long time. And then you'll make another leap again. Be kind. Be gracious with yourself. Remember that your style is always changing. That it takes years to hone a voice and a style. And that it's okay to mimic what other people are doing. So long as it's in the name of practice and progress, you're aiming to find your own voice within this very broad style of art work. Okay, bringing it back to our current piece. I hope that you didn't mind that little segue. I hope you find that encouraging. But we're going to move into what is my favorite favorite filler foliage, leaves, stems, And just adding all of that bright, vivid movement. The first thing we're going to do, I have you at an angle here so you can really see how I'm manipulating my brush is we're going to dip into the green gold and pull that into your palette. And I've gotten myself a fresh cup of water and I've made some room on my pallet so that my greens are not bleeding into my oranges or yellows. Not that it would be awful, but I really want to have something that's strictly green here. All right? I have a nice green gold mixture here with the mums and the daisies. There are some bigger leaves, however, I'm going to save those, mostly for the. As you see, when we put it all together, I'm going to walk you through why I'm putting this leaf here, and why I'm going to put this stem there and I'll take you through the choices. But initially I just wanted to say that I'm going for something a little bit more like this, a bit more of a weed. Weeds are one of my favorite things like cam meal is my favorite flower to paint. I just think it's the perfect flower. I want something that's just a linear, because it's linear. But something that's just a little bit of a line look versus something that looks like a traditional leaf that has all of the different ways to approach it. If I wanted to do something like that, that would be more of like a leaf. But for here, let's just practice and I'm just going to walk you through it. Your pointed brush here is capable of doing so much. You can create some thick strokes, then you can create really thin strokes like we did for our stems here. I like to make sure that my students have like a loose hold on the brush and they're not gripping it, their life depends on it. And you're going to want to take the brush and you're just going to want to graze the paper and move back and forth as though you're conducting a piece. I have my stem here. Let's just mimic that stem and I'm just going to graze the paper. You can see I have something that's thicker down here and thinner up here. That can be intentional because we have a thicker part down here or it can just be a nuance you bring within the piece. Then if I'm wanting to create some leaves, some weedy aspects to that stem, I'm going to take the brush and just start beginning to connect things. I'm just going to scribble it across the page, creating some really pretty movements. We have a stem here that has some really beautiful lines coming out from it and create some thinner lines to act as additional leaves. We can thicken them up a little bit by covering them. If we wanted to do a leaf that had this feel to it, we could make a stroke. And then we would just head in and add some thinner strokes to it. Same thing, nice stroke in the middle, connect that there. Then we can either bring it down and create another offshoot here. Do the same thing, can even bring in some long lines here. It really is just a matter of grazing the paper, moving your brush back and forth, back and forth, and really finding that happy medium between what you see and what's happening on the paper. Same thing down here. You can do a thicker stroke. Something more like along the lines of that. You can connect that to something like this, to come off to the side here. The idea is that you play with shape and movement. Just give yourself permission to explore lots of different ways to approach this style of leaf. But it all comes down to that initial stroke and then you're embellishing on top of that. You're either adding another one to connect it all together or you're leaving it as a single. It all starts to make sense when you put it all together. All right, let's go ahead and do the same thing with our mums here. Okay. So I'm going to mix up a little bit. I'm going to use more of a green this time just because we're I want to have different colors for all of our leaves. You can create some really sweet little details here along the bottom. I got to pull you over here so you can see. And then again, you're just using those really thin strokes to imagine that these are connecting here. And then you can do the same thing here. Looks a little weird because we used the brown, but same theory applies. I'll pop you back up here. I love the layering. So you can continue with that sort of weedy stem, or you can have something that's a little bit more structured like that. So you would have a first stem and then take the toe if it were to do it here. And then down here. I really love these dainty stems. They are my favorite. I tend to put these in all of my pieces. Again, you're wanting to just move that wrist back and forth. Manipulating the brush can even put some little delicate areas down here. It doesn't have to make perfect sense. It's supposed to have that loose, gestural feel to it. If you want something that's clearly more leaf like, you can take your brush and just do a single stroke and then do another, lots of different ways. Same thing here. You can come out here, create some sweet little embellishments and then expand here. Yeah, for this one, let's go ahead and use a filbert brush, just to shake it up a little bit. I'm also going to be showing you that cat's tongue. The leaves can look exactly like the petals, so we could have something that was very much like this. We have a cute little branch there, and we're just pulling that stroke down. But we're either using a full stroke or we're coming on the side of the brush here. You have something that's like this. Or you can really use your filbert brush to make it look different. And you can do like a little three pronged leaf, whereas they look very leaf like. Let's just play with that. Always giving our leaves movement so that it appears as though they are moving, making some marks, so lots of different ways to play with it. If you want something that just looks strictly leaf like, you can use something like this. You can leave a little white space in between if you like to create that look of light hitting the middle of the leaf. A lot of people like to do that. That brings a lot of value and then you can build upon that. You can see there's lots of different ways that you can use the Filbert brush for something that looks more traditionally like leaves, something that looks in between that twiggy weed look. And just so many different just options. I invite you to like fill up a page with these and just these and see what you like and blend them together and just have a giant leaf party because I'm telling you the foliage is where the fun is at. We're going to use our cat's tongue brush in the next slide and also use a different color which will be attaching to our roses. Let's move into that segment. 9. Leaves, Stems and Foliage Continued: Okay, so we're going to be using the, the ash green. So go ahead and put a little bit of that on your palette. Now if you are very new to, this medium is a marriage between acrylic paint and water color. So it can be both transparent and also opaque. You have both the options I love. I have a whole gas class on here just talking you through that medium and how to use it. It's so marvelous because it in both forms, it's no problem to add it to a water color piece. You wouldn't say like, oh there, It looks as though there's some dissonance in that piece because there was a different medium used. It really does feel as though it belongs. Let's go ahead and just begin exploring this color and exploring leaf shape with it. Okay, we have our brush, we're going to draw out that color. And you can see it really is very creamy. And if you were to just put it in it, out of the tube form, it's going to come out opaque, solid color. But when you add a little bit of water to it, sometimes a lot of water to it, rinsing off here. Then you have something that looks a lot more like water color. We're going to start off with broth consistency here. I'm going to do some of my favorite leaves which are, I just call them scrubby leaves. I'm just scrubbing the brush back and forth. I take my cat's tongue brush and I'm going to come at an angle here. Not quite on the toe and not quite on the body. I'm at an angle and I'm just going to go like this. I'm just scrubbing it and now I'm going to scrub the other side. I'm going to have just a little bit of nuance. Then what I'm going to do is take the darker color. Actually let's do a couple of these just to give the paint a chance to just meld. Let's do the same thing, just scrubbing. Just keep scrubbing. It's a little bit of a longer one. You can have one that's more on its side like this. And to do that you just have the leaves on one side of the branch, and this is where that leaf would be folding. Then you can show a little bit, maybe of the leaf as it would be curling over, but you leave it primarily like this while I'm jabbering. Let's mix up that cough syrup and head back into this first leaf. Let's go over it, same thing, and once more here. That's the first scrubby leaf. It's great for all sorts of flowers. You can use it for roses, for dahlias, for moms, for daisies. A smaller version of it for camo meal, because Mo meal has those leaves as well. Sky is the limit there. If you wanted to do just more of a traditional leaf, then we could use the brush for a combo stroke, 1212. You could use broth consistency for a really light leaf and then give it a minute and head back in there with cough syrup, add some veins to it that gives it a little bit more interest. The longer you wait for it to dry, the less your lines are going to move within the water or within the wedded media, you could do really long leaves with it. If you wanted to do something like this on our rows, you could take the brush and elongate this stroke for some really nice long leaves, and then you could combat those. Then what you can do is take the pointed end of the brush and rough it up. We've talked about this technique in previous classes as well. You would get something that's more of a rose like leaf. Let's do that again down here. Say were to have it right there, we can make that combo stroke. And then take the side of the brush and just drag it along so that you get more of a jagged leaf. Then you give that a minute to dry, then you can head back in with that cough syrup for some really beautiful bleeds. It'll all start to make sense. You can also add a little bit of color to this color if we wanted to add some green gold to our ash green. Now we have something that's very grass green. We can pull in some leaves here. I don't love that color. I'm going to add a touch of burnt umber to it. It's just a little too Crayola for me. I need something that's a more of the vintage color. I'm going to darken that up a little bit. Show you here. Just making it a little more earthy. Moving that around, we wanted to do just that traditional leaf, really beautiful shape here. And then you can, if you want to just bring in some motion to it, you got to do it while the media is wet so that it's receptive but you get that really rose like leaf at this point. Once I have a lot of solid leaves that are thick and more bushy, then I would take my number six brush and I'd begin to add in some more delicate lines. Something that's more along the lines of weedy. Just to offer variation, mark making, fill in the space. Imagining that stems coming down here, maybe this stems coming around the side here. All right, so just to recap, we have that first style of leaf coming up with the toe of the brush. It's more of a stem leaf than anything else or something like this. And then using the filbert brush, we can have leaves that look like this very leaf like, we can rough it up a little bit. And then we have our big cats, tongue brush, scrubby leaf. Or if we want one that's on its side just a tiny little bit here, this one will make a little bit more obvious that it's not quite on its side. Again, I'm using the combo color now. You could move into just the ash green, just to have a variation can go back in with that cough syrup consistency and layer over the leaves here. You can also do those juicy combo strokes, leaving the leaf as is or roughing it up along the edges and then coming back in with the cough syrup consistency. These are the type of leaves that we're going to be using when we put together our bouquet. You can make as many variations as you want. You can even head back in with a completely different color. If I were to use the Daniel Smith undersea green, you can come back in and add some veins to your leaves. If you were to opt for these more simple ones, then you could take a really nice deep color and add some veins to your leaves here. Same thing with all of these. Sometimes I choose to keep things really simple, but it is fun, especially if things are still wet, just continuing to layer. You could do the same thing if you don't want such a dark color but just want a little bit of color. You wouldn't use that Cough consistency in the Daniel Smith, you would just use Glider color and do something along those lines where you're just layering on top of what you already have. That should give you a pretty thorough understanding of leaves and different ways to use them. Different roter ratios and different color possibilities. You're all set to go. We have covered a lot of material today. I, I wouldn't say like rapidly through it, but it's definitely a speedier version than what I normally do when I break down one flower for an hour and a half class. Really trying to give you guys a thorough look at my process, but also move you through the material and get you to the final results, practice, practice, and then when you feel ready, join me for our class project. I'm so excited I can't wait to get started with you. 10. Class Project Part 1: Okay, you will have noticed that I now have my paper in portrait orientation versus landscape. Just because I wasn't planning on doing a wide bouquet, but rather a taller bouquet. That way, we have the length. In order to get some of the aspects that we've been practicing, it's up to you. You can turn your paper this way, and your bouquet will be more full this way with shorter stems. Or you can move your paper like I have and achieve something that's just a little bit more elongated up to you. We're going to start in a little bit of a different order. We started with filler flowers and then moved our way focal flowers. We're going to actually begin with our focal flowers because these are the flowers that anchor the piece and everything is built around them. As I typically talk about composition, when I go into the class project, I'll do the same here. Just talking through my choices and why I put things where I put them. You may find it beneficial to check out the artists resource, my sketch and palette digital download resource because it does go into size, shape, angling, and positioning and color choices. It just talk about basically I provide sketch for you and then you get to walk through like the different components of composition may find that of value. Then we're going to begin with our creamy, peachy coral roses, and then we'll build out from there, adding the daisies and the mums, and then those filler elements. And then maybe even pop in some berries as the cherry on top. All right, let's use our number six brush to create the center of the rose. When I begin a new piece, I like to pretty much begin in the center of the paper. Not necessarily like the middle of the actual paper, but just the center of the paper. I'm going to move up a little higher here, like maybe three quarters of the way. I'm just going to graduate a little bit to the left here. That way it is not directly in the middle but pretty close to. I'm going to begin that vortex that we talked about just using my brush as a series of strokes and curves. You can opt to do your C as big as you like or you can keep it smaller. It's completely up to you. Then I'm going to move in here using my number six fiber in the velvet touch and begin those strokes. Some strokes I will allow to touch, and then others I'm going to intentionally leave that white space. Nothing really new here. Just continuing to add those C shapes and cuddling the center of that rose. I am going to now blot off my brush and move into more of broth consistency, me looking for those natural spots within the flower, still a little thick here, blot off one more time, those natural spots within the flower. And then you can even while you're working, use that pointy brush to help connect things while the media is wet. You can do it afterwards, or you can do it while you're doing it. Sometimes I do choose to do it while, because I can see, okay, that all makes sense to me. Continuing to do some thinner lines in here connecting it. You can even pull out a little bit of the Quinacrodone. Wouldn't pull it out too much just because you don't want it to take over the flower. But you can add a little bit of that into the rose working wet into wet, so that there's just a little bit of differentation between those inner petals and the outer petals. Just being mindful of your choices. Okay? I like that rose, as is. Next step is to anchor it with another flower. For that flower, I'm going to choose another rose to position down here. And then I'm going to be filling in with daisies and another daisy. And then I'll be filling in the outer perimeter with the mums. Okay. This time I don't want the color to be exactly the same, so I'm going to make a little room on my palette and adding in that white gas to make it nice and light. I really want to play with that autumn palette here. I'm going to do what we talked about. This row is going to be a little bit bigger than this one. This is going to be like that main focal row. I'm really going to go here eventually. I'm going to turn my paper around so that I have a really good grip on what it is that I'm doing and creating. Okay, here we go. I'm going to flip it around so that I'm making sure I'm going in the right angle. I'm finding that spot between the petals, creating a line, and then building my petal. I want these flowers to overlap. Doesn't have to be like an obvious overlap, but I do want to make sure that it looks as though they're running into each other. They're nestled up against each other. Okay. Now I'm going to pick up my brush so I can get some bigger petals. This is my four and my Umbria. And I'm just going to continue the same way that I have here, gradually expanding the rose. It's okay if it feels like it's a little bit wonky to begin with. Okay. I'm going to turn the paper back around. Can see I have a really nice big rose here. And I'm going to use my six brush to head in and to create some finer lines so that you can see those areas where things are kind of separating, guiding that rose around. Because I want really nice big focal rose. Now I like where that's at, I can see a nice differentation between these two roses. I am going to come up here, now that I see this, I'm just going to give it one more petal, just so that I'm making sure that it definitely looks like it does because I angled it that way, but sometimes I just after a little moment away from it, I see. Okay, let's just allow that to make a little bit more sense. I want it to be positioned in such a way that it's clear in which direction it's going. Okay? I love my roses and where they're at. Now we're going to work on plugging in the daisies. 11. Class Project Part 2: The most natural spot for me to begin bringing this bouquet into the middle here, which is, we don't want stems that are just flying all over the page. We want to bring it to the middle so that there's rest along the perimeter is to put it right here. I'm going to ask myself, where do I want those bottom petals to hit? Because we're going to be going for a side daisy here. I want the petals to fill in this little white space right here. And to begin to attach these two large flowers. We'll do that by creating the middle of the daisy right about here. We have that center. That's just a series of pretty much the same start as the rose, but then we're going to add those little edges along the middle of it. Again, this is very simplified. You can add more detail. You can always add more detail after two, that's something wet into wet. But you can add layers, especially if you're using gas. All right? And then we'll begin to plug in our daisy. Now the thing you want to keep in mind, and you may even want to angle your paper so that you're moving in the same direction, is to position these petals in the right way, so that it appears as though the daisy is facing up into the right. You're going to want to be manipulating your wrist in the brush, turning your fingers so that you get all sides of the filbert. You want a nice strong cough ser, consistency to tie into these lighter colors. Here we're really playing with that fall palette. Now we're going to use our four in the Umbria to continue building upon that daisy, finding that natural spot where there's a space. Remember, you can make connections later. It's better to just anchor those petals first to get a sense of where you want them turning your paper as you move, adding a little bit of curve to respect the positioning of the flower joining. I'm actually going to turn the paper so that the strokes are a little bit more natural. Begin joining these petals by curving them, filling in that space. I don't want something that's too circular, but I also need to be mindful of how it's shaping. Okay, so I like what's happening there. Now I'm going to add just a little bit of water here to fill in this green. And then use my brush to look for those gaps within the flower where it just doesn't look quite as natural. We have a nice differentiation of medium, large, and small er. What we can do is decide a little later on do we want to continue expanding on that flower or do we like it the size it is? That's always something you can decide later on. You don't have to make the decision right then. And there can see how much room you have left. I'm going to add just a few more lighter petals. I can see. Okay, Where are my stems going to be coming back? I'll be placing a stem here. The rows here, it's all going to be curving back towards the middle here. Okay. Now to anchor this, I'm going to, I'm trying to go for symmetry and balance, but I don't want to copy and paste of symmetry. So what I'm going to do is I'm going to place two D here on this side to help balance things out. This is where we're going to play with color a little bit. I'm going to mix that yellow ocher with the Quinacridone, burnt scarlet to get more of an orange. And I'm also going to plug in a little bit of the burnt umber so that it's more of a vintage orange and not just like a screaming orange. Let's go ahead, we'll start with our center using our round brush. I'm going to put that pretty close to this rose here so that it really feels as though it's nestled up against it. Want to make sure I'm saving room along the edges for those leaves and stems and all of those little filler elements. Again, turning your paper, if that helps, I'm going to just use my Fe brush. Even though my six is smaller, I'm going to use my Fe brush the same way that I would my six. And I'm going to create that first layer. And I'm going to tuck these petals against this rose here. Because I really wanted to come in and invade the space. I want to clustering, I don't want too much separation. Again, turning the paper, really playing with that fall color palette. Okay, so you have this flower really invading the space here, which was what I was going for. Again. We have a lot of really nice balance as far as size and shape. I'm going to do the same thing here, but I'm going to make this one a little bit bigger, beginning with that center again, you can add details later on. Adding a little bit of the dark right around the ring here. I'm going to fill in a little bit of the space here, not all the way, but just let those colors meld again. I'm going to lean into that mixture of the Quinacridone Bert scarlet and the yellow ochre. But I'm going to pull a little bit of the yellow ochre into it so that it's more dominant on that side of the color can see. I'm going to turn my paper to make sure I get the right angle. My center here is facing this way, and I want it to go this way. What I'm going to do to resolve that is make sure that my petals are facing the way that I want them to. I'm going to start here correcting that error so that I'm going in the right direction. Watch your wrist. I haven't blogged into anything yet, but it certainly happens. I'm taking my fiber, really. Playing with the edges of the petals here and then I'm going to blot off a little so that the color is a little lighter and we get that two tone value, turning it back around so I can see what's happening. It's all feeling very natural to me. I'm just going to plug in here like we did in our practice page that Quinacrodone burnt scarlet. So that I'm really getting some nice two tone value here. You don't need to overdo it, but it helps to bring depth into the flower. 12. Class Project Part 3: And helps the viewer really feel like, okay, I'm looking into the center of the daisy. You can do the same thing here. It's getting a little bit drier. We'll mix up that ratio right here. And then you can plug in and do the same thing and really get some beautiful two tone value here as well. Remember again to manipulate that brush so that you're getting lots of different shapes and movement. You can see that really and interjects just a lot of life into the painting. Okay, the next step is going to be to add some mum. I'm going to do that up here in the left hand quadrant and I'm going to bring those up just slightly higher than this, is to create some balance. Then I'll also do some on this side and then we'll begin to plug in the leaves. All right, so the center of our mum, we remember it's just making very petite. You can do a couple different areas to start or you can just do one at a time. Seeing where each one lands, That might be the smartest way to go, especially if you don't if your spatial reasoning isn't super strong. All right. Heading into the Quinacrodone, I'm spacing these a little further away from each other so that there's some rest between that color and we'll also be breaking it up with greens. Then we'll get into that panza yellow, deep and yellow ocher mixture that we have a really strong two tone value here. You want it to be on the yellow side, necessarily orange, because then it's going to blend in here. I'm going to make some room on my palette. Make sure I really have that mixture the way I want it. There's the yellow ocher and there's the Hansa yellow deep. Because this is really the only area where we're going to see yellow plugged in. So I want to make sure it's valuing the integrity of the color. Okay, We're just essentially doing the same thing. Just on a smaller scale can blot off that way your petals gradually get a little bit lighter. Angling them this way so that there's a little bit of curve in the movement. I'm liking that those are nestled up against each other. I'm going to create another and put this one on its side facing back this way to bring the bouquet back in the direction that I want it. A lot of bleeding happening here, but that's okay. Because it's going to make this one look just slightly different. And send the paper so that I'm really getting a good angle. Then I'm going to pull out that yellow and separate here so that you can clearly see there's yellow happening. I'm liking the balance of how everything's laying out. Like the difference between the flowers here, meaning that these two look a little bit more structured. This one has more of a loose flowy feel to it, plugging in just a little bit of that dark color, that quinacrodone. Then I'm going to do the same thing down below using that burnt umber. Oops, wrong brush. Sometimes I do forget which one is in what hand, but I like having the duplicate so I can immediately do the work. This brush will have the Quinacrodone loaded onto it, and then the other brush will have the yellow mixture loaded onto it. And that really makes it easy to go back and forth. This piece is starting to feel very fall, filling in just a little here, again, angling in the direction that I want to go. I wouldn't necessarily say at this point I'm done with the flowers, but I like where it's at and I like the balance and symmetry. Then I would start plugging in the leaves and then decide after that. Okay, this area still feels a little bit too sparse to me. I definitely want to plug in some more color. But let's go ahead and do the leaves first and then we can make that decision together and cross that bridge when we get there, the first thing I want to do is to anchor those stems. To do that, I'm going to use the green gold for my Ms and my daisies. And then I'm going to use that Daniel Smith green for the roses. Now, you don't have to have a stem for every single flower, or you can have more stems if you feel like the pieces benefited by having more stem action. The idea then is to not necessarily have everything matchy, matchy, but have just the sense of understanding. Overall, I'll show you. I'm looking here like, okay, I'm feeling like that's where this stem would land. Then I have this rose coming this way. I'm going to land that right about there. No, I did say I was going to use the green gold for the mums and the daisies I got ahead of myself. Okay. Let's just do it the opposite way. Well, the green gold apply to the roses, and then we'll have the undersea green before the daisies and the mums. Okay, let's dip into the undersea green. You may even want to plug in a little bit of burnt umber. Just vintage, and have that differentiation between the two colors. Okay? Seeing just where this daisy is hitting, just imagine, okay, Something right about there is okay. If the stems overlap as well, encourage that. We'll fill in that area later. We're just trying to imagine where things lining up facing them in the right direction. Now this one, we really want a nice wide curve to interject some movement. Then imagining is coming right right back at that spot. Same thing here, hitting this, maybe right about here. And same thing on this side, right about there. And then just filling in the space down below that I have something to work with. I have a nice full area connect this up here, show a little bit of stem. The idea is just not to perfectly line up everything if it doesn't work within the painting, if that makes sense. Okay, let's go ahead and begin with some of our bigger leaves, and then we can fill in with the more dainty aspects for our roses. We talked about doing that. Ash green. I'm going to make some room on my palette here. For that, we'll use our cat's tongue. Let's go ahead and work from left to right, so that we're not smearing what we have going on. Let's plug in a leaf right about here. Nice scrubby leaf. I'm going to plug in a little bit of the burnt umber to this ash. Just because we're muting down colors for the colors. I wanted it broth consistency so that I can go back in brush later and add some details. I like that leaf and it feels like it connects really well here. The idea is to put some leaves next to your flowers that look a little bit different too. You don't want leaves that look just like the petals that you're creating. Or it's just going to look like what's the difference there? Creating some movement here. Bringing the direction back this way, so that we have a piece that's really nice and balanced here. If I were to do this piece straight out, do you see how that might feel? Just a little bit linear, a little too structured, and just a little too stiff. But if we bend the leaves here, we bring some of that movement back into the piece. Same thing. We don't want to go up too high here because we have our peak already over here on the left. What we'll do is we'll bring that leaf right about here, below this mark. The same thing on the other side. I know I'm not really working left to right here, but I am being mindful of where I'm placing my palm, although I did get a little bit right in this area. That's something that would easily be corrected later or I can just plug in a little color fix that up. 13. Class Project Part 4: Okay, just time of taking a moment to look at what I have. I'm going to place another nice big leaf right around here, Bending it and then overlapping it as well. Really playing with movement here. Then what I can do while it's still wet, got a little bit of white in there. Let's see is plug in that ash green at the cough ser, consistency. Okay. I just be mindful of risks here. Just something very loose and gestural. Okay. Now I like where this is at. I want to plug in some leaves while I still have space that are more along the green gold and Daniel Smith under green combo. So that I'm going to mix those two colors together. I'm going to plug in some leaves right here in this empty space and then rough those up a little bit. I'm going to take my number six, brush and dip into the undersea green at the cough syrup mixture and then head in while the media is still wet and create some really pretty bleeds. I remember water color dries two to three times lighter than what you see on the page, especially if everything is still wet. You're going to see how it dries. It can also go along the edges of that leaf. You may need to do that a couple times to achieve the effect that you're looking for. Okay? Things are feeling nice and balanced. I like the big leaves that I have. I apologize for my co hanging over here. I started to run down my battery, so I'm plugged in now. Okay, again, just checking the balance of everything, wanting to make sure there feels like there's symmetry. I think we're at that point now where we have enough larger leaves, leaves, that we can begin plugging in those daintier aspects and then again, filling in where we feel it might be necessary. Let's start over here on the left with the mums and we're going to use our number six brush for those twiggy esque leaves that we created in the very beginning. Watch where you're placing your palm and you're going to begin, turn you a little bit by coming out into the left, but not too far because you don't want to go past this point. We always have these peaks around the page where we don't want to have things matching up perfectly perfectly. We have this edge here, We have this one, it goes in a little further, this one even a little deeper. We want to make sure that in certain areas, the points and peaks are longer than others, where we end up with something that's very box shaped and square. Okay, so I'm going to create some really pretty. Leaves down here. Then over here as well, you can see how it starts to really fill it in. This is why I call it filler foliage. Then I'm looking at this piece going, okay, does this look awkward and weird? Yes, a little bit. Let's bring some shape into that space so that it just fills it in and it doesn't look like the gap is a lonely gap. It's fine to have negative space like in between here. In fact, I encourage and invite negative space because it's rest for the eye, but you don't want to have awkward negative space. Okay, same thing here. We're going to really reach out here to the farthest edge that this is the point at which it reaches the farthest, we'll come down below adding in some really gestural conductoresque strokes, pulling it all together. Okay, I'm going to add some rich green gold in here, just to break up the colors. Now I'm doing those leaves that are a little bit more thick than these over here, but still have that weed like feel to them. Again, I'm going to come out over here, fill in this lonely negative space. This will be the point that is farthest on this end. I'm going to fill in some space here too because I'm feeling like it's not making sense to have all of this and not have anything full in there. And then I'm going to dip back into my undersea green and do some darker strokes to tie in these colors. Because right now it just feels like okay, where's all that darkness coming from? Just layering at this point to bring a little bit of that dark and dark. And then again coming on top here to create some veins and some mark making. I'm going to do the same thing over here, creating some nice movement down here. I don't want to go past this point here. I'm needing some really nice negative space on this side, on this side. But also taking care to balance and play with the direction and flow of the shape. Again, balancing out here, adding a little bit of thickness so that it makes sense here that these stems are thicker. Checking, making sure things feel attached and don't feel too disconnected. I feel like this could benefit from maybe having a little bit going in this direction. Maybe even coming straight out here just to fill in that area. You can see things are really starting to make sense. There's connections happening and it all starts to blend together. This is the point at which I would say, okay, do I feel like I need more flowers? Do I feel like I need to emphasize a certain area of the painting more? Do I need to go in with color and do something more like this along the daisies or the mums and just make things feel like they're coming alive. I like where this is at. I feel like we added a really strong amount of detail and also have areas that are these leaves and these that are a lot more gentle, um, that allow these leaves over here to shine. The only thing I might do over here is just add some gentle strokes to just offset the strength of these colors. Because when I look at the painting, the first place my eye goes is to these leaves. They're very strong, which is fine, but we want to just make sure we have moments of rest too. It's like my eyes go here and here, and then I start taking in everything else to make those decisions. Always searching for balance and rest within the piece. I like to go back and forth, back and forth if I know exactly what I'm doing, let's say I had like a sketch of this, then I could move from left to right with ease. But I find when working, it's nice to go back and forth because I'm balancing as I move along. We have the symmetry here, you can see, but we have different shapes, so it doesn't feel like a copy and paste on both sides. Same thing over here. We have these larger daisies balanced against these smaller moms. But it all works together because we have this one big daisy to pull it all together. Symmetry and symmetry and balance, but finding ways to make it feel like nuanced. And that it's not a simple copy and paste. Anyway, at this point I would simply say scrawl your name across the bottom and call it your own because it looks fantastic. If there's any other questions that come up along the way, if it didn't stick, it didn't make sense, please always follow up. You can always ask a question in the discussion on Skillshare directly. Or you can send me a message via Emil or on Instagram as well. But please please make sure that you upload your project so I can see and comment and just admire it and tag me on Instagram. If you decide to share it, I would love to see. Thank you again, as always for joining me for class. I had such a wonderful time creating this fall bouquet. I might even hang this up in my house for this season because it's just screams fall to me and it's such a delight to look at. I hope you enjoyed what you learned today and what you created. Remember the power of not yet. And continue to give yourself grace and compassion as you move forward and embrace this creative side of your soul. All right, Take care of my friend.