Mixed Media Muse

1. Introduction: Every artist and art lover cherishes the excitement of inspiration and nothing embodies that inspiration, quite like the concept of The Muse. They symbolize creativity, inventiveness, imagination, vision, and beauty. My name is Jennifer Laurel Keller. I'm an artist and instructor with over 20 years working in the arts. But what I really do is help people gained creative confidence. Sometimes it's hard to tap into our interviews. So I thought it would be fun to create beautiful Muses as symbols of our own guiding lights. We can have on-hand as a stash of focal points for our mixed media works. So in this class makes medium muse. I create three different examples infused with rich textures, beautiful natural elements, and inspirational energy. You'll learn about materials and where to find public domain vintage images that are copyright free for your collage, I'll demonstrate layering and assembling composition, adding semi-transparent acrylic color and tips for making your muses lovely and filled with imagination. This class is right for you. If you're drawn to beautiful papers and want to create whimsical figures without the need for a lot of drawing or painting skills. With these basic concepts, you can create as many Muses as you like, so you can have them ready to go for your future mixed media pieces. So are you ready to bring your inner muse to life? I'll see you in class. 2. Materials: Hello and welcome to the Materials lesson. In this lesson we're going to go over a lot of materials that I have on hand. I didn't use all of them, but it doesn't hurt to have extra around if you have it conveniently nearby. So before we get into it, don't forget to download your materials list. It's attached to this class and has a lot of resources on there for you. Now, first off, I have some pattern papers. These are out of a scrapbooking collection that I recently was gifted by a friend who's moving. So there are lots of beautiful papers in here. And I recommend having at least something about half the size for each of our Muses because we're gonna be building or muses on these pieces of paper and then adding to that with more embellishments. So I'm just picking out a few that I think will work. I'm gonna pick out for that kind of go together. And, you know, this way I don't have too many papers out on my table at once because that can be really cluttered and distracting and so it helps to pare down your paper collection. The next thing you're going to want are some faces for your muses. And I printed out these two here, and I just changed the ink and my printer and it wasn't as nice as I thought it would be. So there was some streaks in some of these, so I printed it twice and I can use the best of the two. So I'm gonna go with these two here. And I've attached this PDF to the class so that you can print these out as well. But if you want something different, I wanted to include some websites where you can download public domain copyright free images that are vintage. And the first one is free vintage illustrations. And all of these links will be on your materials lists. So you can see that this one has a lot of components, lots of categories. And you can just kind of click around and then download whatever you want and then print them out on your home printer. Okay, the next website is vintage patterns, and these are all sowing patterns from every decade that they could find them. And so here's 1970. There are 99 thousand vintage patterns on here. So if you scroll around, you'll be able to browse by decade or which type of garment. And you'll find lots of models that are illustrated on this website. And these are not very detailed. So this would work if you wanna do smaller muses or just have them as a secondary kind of thing. If you're working small, These would be great. So those are lots of fun and you can find whatever style you're interested in. Alright, the next website is free vintage art. And these have lots of gorgeous illustrations and artwork from all types of advertisements and cards. And there's lots of people on here. You can click on vintage people images. There are kids and adults. Next I have clip art library and this is all kind of adornment kind of stuff. So it wouldn't be necessarily for your faces. There's a couple of faces on here, but I'm thinking more for embellishments and things like that. They do have modern clip art as well. But I do prefer vintage. It just gives it that kind of romantic look. And next is the Biodiversity Heritage Library on Flickr. There are tons of images on here. They're all, each of these is an album. You got fish, birds, rocks, coral, butterflies, crabs, anything. It's just very diverse because it's the Biodiversity, Heritage libraries. So you can find all kinds of things to adorn your muses that wave, and then you don't have to look online. You can look on in vintage magazines. This here is a sheet music cover and has some faces on that. And I could have used the man in this as well. There's no rule that says these all have to be women. Men can be muses to. We're not excluding anyone here. And then we have this angel and I think I'm going to skip her because she's a little bit small for what I'm doing. And she's also kinda beautiful as-is. So I think I'll save that for our different project, but that was just out of a book. So you can look in magazines, books, anything you like. Next, I have paper scraps. And this I actually didn't use. I ended up using just the papers of the scrapbook papers that I showed you earlier. But it's nice to have some scraps around for just adding more texture and patterns. And then here we have some embellishments. I have plurals, feathers, butterflies, lots of flowers. And really you can do this any way you want. I love using things with wings because I put the wings on the muses. And then you want different varieties of scale for your flowers. It's nice to have big flowers and little flowers for layering the head dresses that we're gonna do, the floral crowns. Birds are nice. Okay, next I have acrylic paints. I have lots of colors on hand. You'll definitely want white on hand if you want to lighten any of them up. Next, I have regular gel matte medium. This is what I'm going to use to adhere all of my papers together. You will want one to two pints of water and then I have an assortment of writing and painting utensils. I do use the graphite pencil. And then I have a charcoal pencil and some permanent pens on hand. I didn't end up using them. I didn't do any drawing on this, but if you want to use drawing utensils, please, please, please feel free. And then I have some brushes for doing the acrylic layers. I have a couple sizes here and we're not doing any heavy paintings. So just what you have on hand is fine. And you're going to want to brush for your gel medium as well. Any size that fits the scale that you're working on is going to be great. Next I have some scissors and you want these to be pretty sharp. I have a palate. I use a glass palette, but you can use whatever you have on hand. And i have a paint rag for catching my drips. And then I have just a regular piece of scratch paper for a slip sheet for my gluing. Okay, so that's everything up next we're going to work on the faces and I will see you there. 3. Faces: Hello and welcome to the faces lesson. As you can see in this image, this is what we are going to wind up with at the end of this lesson. So we have an idea about where this is heading. So I have my pile of faces that I'm considering using. And I know I want to use these two. I printed it twice because my printer was acting silly. So I'm going to cut out the best of these two and put the other two aside. And I do have these included in the class. I have them in the project Resources section and you can download them. So I'm going to cut out the shoulders and the head. And when I cut things out, I I'm not I'm not trying to be perfect. I just want to make a nice shapes so that I can visualize the silhouette. And then I'm just going to smooth out the shoulders and cut all the way down. And this is going to be the general shape of our Muses were not doing any intricate arm or leg work, but you could, if you wanted. Now she already has a little flower crown. So I'm going to cut around that and I'm, I'm really just moving the paper more than the scissors. You can see how I'm just kinda wiggling the paper around when it's going around some of those details. And then I'm going to smooth out the body and cut all the way down. I'm not sure if I'm going to use her yet. Her faces kind of in shadow. So it's you know, I'm not sure. So I thought that I would cut it out to see how it looks by itself without the background, and that's a possibility. And then I'm cutting out this woman here. She doesn't have as much of her shoulders. So I'm just gonna play. This is kind of a challenge because she's looking up at an angle. And I thought I might be able to work with that. So let's see how she does. I'm going to compare these so I could do those three. I could have done all four, or I could do those three. And I think I'm going to use this one. And it's funny. So there's some text on her from the sheet music. And at first I was thinking I would cover it up, but it's starting to grow on me. So I think I'm going to keep that. Okay. So I'm going to set those aside and pull my papers so yours do not have to be this big because our Muses are really only going to be as wide as these cutouts. So I'm just holding them up to the background to see which one will look the best with which paper. And you can put it over the front, just switch it up, see what will look best and just pick. And you can also put the paper in front of it because it's going to be read under their faces. And I think I like that right there. That looks lovely. I love it. So now I am going to trim her neck away from her body. So I'm just doing a nice curve there with the neckline of her dress. And I'm going to put her head above a nice element on the sheet of paper where it will look the best because it's going to be what is right under her face. And then her body's gonna come down like that. So I'm gonna go with that spot right there. Grab my slip sheet, flip that over, and then I'm going to brush on my gel medium evenly on the back. You don't want too much or too little. You just want a nice glide over the back. And then I'm going to pop that on right above the nice element on my paper where I think it'll look good, accentuating her face right under her face. So that looks good. I'm just gonna pull that up a little bit more. There's a moment where you can readjust and then smoothing out really nicely. Sometimes I put a curly gel over the top when I'm doing makes media. But for this particular action, I'm just going to leave it dry because I don't want any ripples on the face. That's what I want to be the smoothest. Now I'm taking the body and I'm going to reposition it over where it would have gone. And I'm going to draw the shoulders in as a guideline for my cuts. So this is one way to do it and just follow along the shoulder line. And then I'm going to continue it all the way down to the bottom of the paper. And I think this one I made the tallest. And I probably will have to crop the bottom off if I use a smaller Canvas in the future. But that's fine. Okay, so now it's time to cut that out. So I'm just going to follow my cut line. And I started to come in all the way, but then I thought better of it because I wanted to leave some paper around her head above so that there would be a support for doing the flower crown. Because I'm going to adorn her head with kind of a headdress. So this will support that because this paper is thick and it'll just give it more surface area. So on this one, I'm trimming below that little lace collar from her dress. So I left that on. And I want to I was thinking I would just thicken her up a little bit to give her more shape. So I'm going to glue her on. I've got my gel medium, I'm going to brush that on evenly. And then I already have my pencil lines down and I'm just going to line that up and smooth it out really nicely. From that, it helps to go from the middle outwards. And then if you miss a part, you can go back in, leaving room around the head and then cutting around the body. And next we have this one. So at the last minute I changed my mind. I went for the blue paper because I find it really, really pretty. And I think it's so funny that it says, bro, on her neck. I I thought I was going to cover it up. But it's I don't know. It's kind of tongue in cheek. I think it's just funny, so okay. I'm going to line her up where where I wanted her to be. Brush on that gel medium and then position and smooth it out. Fun. Okay, so now I'm doing the shoulders and I want you to notice this. The shoulder that is behind her because she's positioned differently. It the line starts a little bit further up the neck because of just the perspective there. So I'm cutting around her head and then I want to get the shoulders. So just notice that the neck goes below that shoulder line. If you run into this type of situation. Okay, so I have three examples there were ready to go for the next lesson. So up next we're going to work on the body's. I'll see you there. 4. Bodies: Hello and welcome to the body's lesson where we're going to be enhancing these bodies. This is how it's going to look at the end of this lesson. And I love how these look at every stage of this class. So you could include or omit any of these tips or techniques or just follow along completely. So I'm taking the scrap from the papers that I used for the bodies. And i'm going to exchange them between each of my muses. So I'm just going to tear off some scraps. And depending on which way you rip, you might have some white margin. Are, you know, you see the white corps of the paper there. And some people really get annoyed by that, but I don't really mind it. It's up to you. You can kind of shade that out with a pencil or some ink or something like that if you want. So I'm just kind of mixing up those papers between the three P's had a weird cut on it from one of the shoulder. So I'm going to probably layer that a bit. And then here I have my sheet music and I'm noticing that the titles on these songs are hilariously fun. There's just like this really cool font. I love that it came from the same sheet music as this lady. So if you have books or any kind of text that is sweet and cute or funny or, you know, terming to you, go ahead and use that. It's not required that you have text in here though. So don't feel like you have to go find that. But if you feel compelled to do that, that would be really fun. And there's just really fun titles in here. I snipped out things that said, the girl in your dreams. And then one says, by the writers of I love you. And then I have charming, exquisite, distinctive, appealing. So I thought those were just appropriate for what I was doing. So I just snipped those out and I can use them as layers and my collage. So I'm just kind of fussing over the placement. And then I'm going to tear into the sheet music as well and use some of that. So I kept it kind of simple here. But you can use any scrap that you have handy, anything that speaks to you. But I like how the color palette on mine is winding up now. I have some oranges and blues together, which are opposites on the color wheel. And we'll always look really nice together. But don't overthink your color palette. Just do what feels right and is appealing to you. Okay. So I grabbed my slip sheet and like a silly pants, I didn't even use it for most of this. So I'm just going down my strips of paper now. So I've got my gel medium and I'm going to apply it to the base paper. And I'm kinda paying attention to what I'm covering up any design elements in these patterns. I wanna preserve them slightly, but I don't have to be really controlling about it. Because eventually we're gonna do an acrylic layer over this and it's going to be fine. And then I do a gel layer over the top just to smooth it out. So putting the gel medium down, putting the paper down. And then I just smooth it out. And if you need to sneak Any other if anything's lifting up, you can put some more gel medium down, just lift up the paper on the corner and put more underneath. If you want a better seal. Smoothing it out loops, and you can leave the papers intact coming over the side, we'll trim those up all at once. This one I'm putting over one of the scraps of paper from before. And that'll give that more of a layered look. And just wrapping that one-off, deciding where I want to put it. And at a certain point you just have to choose ready. Getting that wrapped up, smoothed out. I'm going to let that dry. I thought I would trim it right away. The paper does get a little rippled When the gel medium is wet, but that will relax once it dries. So don't worry too much about that. Let's work on this one. So I want to leave that rose right under her face. I think that's really lovely. So I'm going to come in under that with the blue. Same situation as before. We're just going to get that gel medium down, put the paper down and smooth it out. And that one says charming and exquisite. And the more you layer, the more interesting this as B is going to be, you don't have to put these down like rungs on a ladder. They can overlap. Just try and keep it balanced. For the most part. Use your creative eye. And I promise you have one. Even if you don't think so. Just do your best. Right? Getting that positioned. You don't have to have them extend from one side to the other. You can have gaps. Alright, now for her and just working out the final details about where I want those to go. I'm covering up some of that butterfly in that print. It wasn't a very it was kind of a subtle patterns, so I don't feel so bad about it. And we're going to be bringing in more butterflies later. Okay, I think this will look kinda cool. And not as a strip going from side to side for just a little scrappy swatch there. And then I can layer over that. And this was the one with that weird cut in it. So I'm going to put that down first because I want the blue paper to cover up that scissor cut on that one. Smooth it out. And we'll do this one next. I'm going to put the Rip over that white paper because they'll kind of blended together. Bam, awesome. And then I have one more piece of text. And now I remember that I can use my slip sheet because yeah. So I'm going to have it it kind of crossover that orange and blue paper. It says The Girl in your dreams. And I smooth it out for the very last quarter of an inch. I realized, oh yeah, I could be doing this over my slip sheet. Silly me. Okay. So now I'm going to trim. Easy. All you do is flip it over and look for anything that's crossing over the line. So flip it over. This one only had one. So I'm just going to snip. Wonderful, very easy. Trim, trim, trim. And one more. Great. Gather up all my little scraps, get those out of the way, and we're all set for the next lesson. So up next we're going to work on the embellishment layout. So I will see you there. 5. Embellishment Layout: Hello and welcome to the embellishment layout section. And as you can see in this lesson, we're not going down yet, we're just going for a layout. I have a lot of embellishments that I pulled and layer just to get the concept of what I was going for. So here I have my ladies from the last lesson, and now I'm going to go on a little treasure hunt for my embellishments. So this is an old gift wrap, wrapping paper. And I'm going to go in for those flowers there. And they are a really nice size. They're not too big. And it's nice to have different scales. So I'm just going to wiggle my scissors around the edge with something this intricate. You don't have to make it perfect. I just kinda do my best and I do crop some of that margin so that I don't have as much of the background showing on that. So I'm moving the paper and I'm not really overthinking it. I don't need to make this perfect and just kinda cruising around and doing my best. And there we have one little cluster of flowers, one little bouquet. And now I'm just going to continue on. I don't want to you don't have to see me cut every single one of these there. You can see how much of the margin I'm cropping off. So my cuts are kind of haphazard. I'm getting in there well enough. So wiggling around getting those. And I love the scale of these for their faces. It's gonna make the flower crowns nice and textured. So now I've got some die cuts. Dicots are elements and embellishments that are already cut out. And I'm just going to kind of cruise around and explore my papers. Josh, for things with wings, things with flowers, and anything else that I want to include. I have big flowers, small flowers, butterflies, dragonflies, birds. And you can also cut into clusters of larger flowers. The smaller individual flowers in certain types of printed papers and break them up a little bit. That's fine too. And this is sped way up, of course. For these Muses, you'll see this a lot in mixed media. And there seems to be a magical equation of flowers, things with wings, and ladies, which is like the magical number and assemblage of components. So keep an eye out. You're going to notice this lot, flowers, wings, ladies. It's like the magic potion for this muse whimsical thing we're doing. So you can use butterflies over the top or you can have their wings coming out from behind and actually make it look like it's part of their body. And like they actually have wings, which is really fun. You can have Bird sitting on shoulders or just in the middle of their bodies. And so I'm paying attention to what uncovering up and what I can just layer right over the top. So sometimes you have to move out the paper a little bit. If it's not laying flat. Don't fold it but just kinda bend it straight. So I'm just going around and getting an idea of which pieces I'm gonna use with which lady, which of my music is and how the layout is going to be. And I love how that big flower is on the head of the lady who's looking upwards. The blue one with the blue body. That seemed to work really well. Okay, so here's another bird and it could be on her head to, and just kind of have like a little nest there which I think is Sweden. And so we're just layering, layering, layering, getting the layout all set up. And I go heavy on their flower crowns and just make them big and exaggerated. It helps to put the biggest element behind and then come forward and bring the scale of your flowers down a little bit. And you'll see how I work with that moving forward. So I have I'm bigger flowers that I'm tucking behind the larger papers on the flower crowns. And you can switch them out to come behind you just want to build up lots of layers. That's just my favorite way to go. You could do one big flower behind their head. You could cut away that, that base paper and then glue up a large exaggerated flower behind the head. That would work too. And I'm just gonna keep going. I'm really laying it on thick around their heads. Here's another one of those magnolias, which would look really cute, balancing the one on the left, the one on the right. I'm because she's looking to the side. I'm putting most of those embellishments to the right-hand side of her head, just getting that concept down. So up next, I want to add an acrylic layer before I put all of these embellishments down because it seemed a little bit busy. So I went to tone down the business of their bodies, so the background. And then I think that the embellishments will look a little bit more clear when I glue them down in the end. So I will see you there. 6. Acrylic Layer: Hello and welcome to the acrylic layer. As you can see in this lesson, we do a layer of semitransparent acrylic paint over the bodies before we lay down our embellishments. So I'm gonna kinda hold everything in place and then scoop up my layouts. You don't have to have them be perfect because things tend to change a little bit. It's good to allow room for improvement before you glue everything down. But we want the general layout and to keep the items together with the lady that they're gonna go on. And then I'm just going to pull my slip cheat and get a dish. So the dish is for all of those embellishments to corral them together so they don't get lost on my table or fall on the floor. And I can arrange them in a way where they are kind of grouped together in ways where I will remember where they went. You can also take a picture before you remove them from the body. I do that but rarely look back at the pictures. So anyway, I'm putting some colors down on my palette that I think would be fun. I have a yellow ochre, a chromium oxide grain, and a burnt sienna, but you can use anything you have handy. So here I have a mix of white and yellow, and I have barely any on my brush. It absorbs really quickly into the paper because it's not primed. And I am totally fine with that because I don't want a lot of coverage. I don't want to use a lot of paint here. I want the patterns to show through and be somewhat transparent. And the brown looks kind of cool around the edges and gives it sort of a aged look like the paper has yellow, yellow or brown. These earthy colors are gonna look cool around the edges. And the white is nice to lighten up anything that is too dark work. We're kind of blending it together so that it's more cohesive. But first I'm just working on the edges here. And I can put my brush and some water and smooth out any harsh lines. So the less paint you have in the bristles of your brush, the more transparent this will be. We're just doing kind of a dusting of color. And so with the white in this case, because this is very contrasted paper, I can smooth out blue. I can just tone it down and then cover up the edges of those lighter papers to make them kind of blend into the background a little bit more. And then here's some green. I just wanted to add a agreeing to make it seem a little bit more fresh. You can use any green that you want. And then. I am going back in for some white and I had some green on my brush soil lightened it up so you can always do what's called tinting. Tinting is when you mix white and a color together to make the color lighter. And that's just going to help smooth out some of that contrast in the body so that when our embellishments go down, they won't get quite as lost in that contrast. Alright, so that's looking pretty good. Here's a close up. So we just kind of grunge did up. Okay, next, we're going to pull the embellishments, arrange them on the plate so that we kind of remember where they are going to go. And you could do the acrylic layer first. I wasn't really sure at the time that I did the embellishments, the layout, what it was gonna look like, would it be too busy? Was I going to need to tone down the contrast and the bodies? So I just did the layout and went in the sequence. But you could go straight into this step before you even pull your embellishments and maybe save yourself some time. Ok, so just working my way around my colors. I've got white and green and going over this orange background. And I think this one, I did a lot of coverage more than the other two because the orange was once I put the paint down, the orange seemed a little too bright. So I actually went over one of my some of my text too much there. So I came back in with my wagged clean it up so I can see all those words. And I decided I needed something blue, so I grabbed the teal from my acrylic paint. You could use any blue that you'd like. Teal is kinda light in color, so if you have a dark blue, you can add white to it. And for my last one, I'm gonna do the same thing. Let's get those off. I want to pull things in the sequence just kinda reversed. And now I'm gonna do a little bit of that tone down on this one. But because there's a lot of white in the papers here, I'm not going to use as much paint because there's a lot of whitespace here. So I'm just doing a little bit of green and white to tone things down just a hair. But I love a lot of the elements in this layout of the body in the base here. So just kind of doing a small application with that. So anyway, that is the acrylic layer. And next we're going to work on the final glue down. So I will see you there. 7. Final Glue Down: Hello and welcome to the final glue down. After this lesson, we will be done and have these gorgeous muses ready to go. So let's have a look. I have my gel medium, I have a brush, and I'm going to apply my embellishments, starting with the ones that are being partially covered up in the background of these areas. So I'm starting with the head. The acrylic paint is actually still kind of drawing on this. And I'm applying the gel medium to my flower. But it's going to exceed past the outline of that circle behind her head on the base paper. So I left that uncovered. So I did not paint the gel medium on that portion of the flower. And I did it on the back of the flour instead of the base paper because I wanted to protect her face a little bit. I was a little bit paranoid at this point actually, to be honest, because I was worried about getting gel medium on her face. But it turns out it's not that big of a deal as I moved forward. Sometimes with these vintage papers at Cannes disk color the paper a little bit. So I wanted to keep that free of gel medium. But in the end it didn't, it didn't really make a difference. Okay, so here's the bird. I wanna get the angle right on that because I want it to seem like it's looking up with the angle of her head. So at this point I'm actually just going right over the base. I'm just applying the gel medium down. You have a minute to scoop the bird in which direction it wants to go. The flower or whatever you have as your embellishments. And then I'm gonna smooth it out. And I got a little bit on our face and it was no big deal. Okay. And now I love how this little cluster of flowers goes in front of the bird, just making it seem like it has a little nest there. And the flowers next to the face, the closer the flowers are to the face, the more they just highlight. The the features like the eyes and the cheekbones and the eyebrow and things like that. But you don't want it to be too close and cover up the eyes. So just be careful with some of these. It's a small fraction of an inch. So there we have the first flower crown. And now I'm gonna go into the body. The paint is, for the most part really dry. And I'm gonna pop my floral elements down on the body. I have this little flower bud and I'm going to put on her lapel Just a small accent up there. But She's looking pretty busy on the body. So you know, I mean, it's up to you how busy you want it to be. Ok. I'm going to give her wings. But the thing is there's not a lot of surface area to glue down. We just cut the butterfly in half, tuck it behind the shoulders and there was only like an eighth of an inch that I was able to glue down. So what I'm gonna do while I consider how to attach those is trim away the paper behind her head. And now you can see her silhouette. It's really pretty, I happen to like the circle and you could opt to leave that if you enjoy it, but I trimmed it away. I'm going to use the scrap of that to make a tab for my butterfly wings so that they're easier to glue on. So on half of that, I'm going to glue some gel medium, put it behind the butterfly and push that together. You don't want it to exceed the butterfly wing, but if it does, you could turn it off. And then you can use the tab to glue down behind the body. And that's gonna give you a lot more space for the gel medium to do its magic. So just getting that glued down, applying the gel medium and picking that up, popping it on and making sure all of the tab is hidden. And now she has wings, which is so fun. It's very cute and playful. So let's do the other side. I sped this up because we saw this done once. So applying the gel medium, sticking it to the butterfly wing, pushing it down, and then lining that up, getting the visual memorizing how much is going to be covered up, putting the gel medium on and then putting it on the back, pushing down. And there we have our beautiful muse. She's all done with her embellishments and looking fantastic. I love it. Ok, next, I'm gonna do the same thing. And remember to put down the flowers that are behind first. Going from biggest to smallest. For the most part. You can always break the rules a little bit. Once you learn them. That's what art is all about. So I'm just going around, wow, I love it already. So getting that gel medium down, popping that on, make sure you don't glue the flowers to your slip. Shoot. Be careful. Now putting my smaller flower cluster in front. Oh, I love it. Okay. I'm going to trim off that base paper. And what are we gonna do with those? We're gonna save them so that we can attach wings to her. We only need a little bit. Ok. Oh, I love it. Ok. So I've got dragon fly wings for her. The head was kinda popping out and I don't want that to show. So I cut the head off to and then just deciding on the angle that we want. I'm going to take a piece of scrap paper, glue it to the wings and pocket behind. And the same thing on this side. I love this method because the wings weren't that big. I kind of liked that. And it just makes it so easy. And then here we have some flowers going over the top. I put them where the wings Connect and I kinda like that. It kind of breaks that transition up a little bit, which I think is fun. And then a bird in front. And we have our second muse all set. The girl in your dreams. Lovely. Okay, muse number three, starting with the big flowers in the background. Popping those on. I was right back and forth. Where do I position this? Okay. Smoothing it out. And then I love how I have to hear it, balances it with a little bit of symmetry, which is really pleasing. I like symmetry and I like asymmetry to, but symmetry is a nice trick when you want things to seem calm and balanced. And now I'm layering down with the size of my flowers. And you can change things up from the original design in any way you want, at this point. Smoothing that out. And then my last flower cluster, framing the face. Getting that down and smoothing it out. You might want to pull that up every now and then to make sure you're not gluing it to your slip sheet. Now I have this bird and I have some flowers and two butterfly elements to go. So I'm gonna put this flower down at the bottom. And I like how it's tall. It kind of bridges the gap now the her whole body is kind of tall. So I do imagine that I will have to crop the bottom of this to get it on a certain size canvas later. The number two was just there on one of the scrapbooking papers, so I thought I would just include it. Numbers are fun to put on things. I could have put the bird in her head too, but I had to butterflies and I felt like it was just getting a little bit much. It's kind of like taking off a piece of jewelry before you leave the house. Sometimes you gotta edit down. So I am doing a butterfly in front here. Maybe I pick the number two because I'm using two butterflies. Okay. And then I'm coming around with the scissors and trimming out the head and getting into that little nuc they're trimming this side and going around the shoulder. And then I have this butterfly whose wings are bent back. It wasn't a straight on look of this butterfly. So I'm gonna put a tab on this altogether because it's just going to be one sided, right? So getting the tab glued and we're going to put it on the left side, get that down. And because I have a butterfly on the right side, it does have a balance which I enjoy. So there she is, charming and exquisite. I love it, and love it, I love it. And here we have all three. They are absolutely Darling. And I hope you have fun with this too. I can't wait to see what you make. Thank you so much for joining me for this class. I loved making these beautiful muses with you. It was so much fun. If you would like to share your project or would like some feedback, I encourage you to post a picture in the project gallery and let me know about your experience. Also, if you have any questions, I hope you'll ask me in the discussion section. Check that a lot and would love to interact with you. And you might help another student who was wondering the same thing. If you enjoyed this class, please consider following me for future updates on new classes that I offer. I also have several other painting and mixed media classes which are ready and waiting for you to explore on my teacher profile page. And remember, Art is meant to be fun. So if you show up in practice with an open mind, you'll learn something new every time. Happy creating much less.