Modern Watercolor Wreaths : 3 Ways

1. Intro & Supplies: As a follow-up to what's been my most popular class so far, we're going to talk about watercolor wreaths. Modern watercolors florals went through how to do florals in a modern style in three different ways. I'm going to bring that three different ways theme into creating wreaths. I think it can be a little intimidating to create florals that are so loose and vibrant and organically shaped, and trying to create a composition with them, and yet that skill of being able to bring in different pieces that feel loose and carefree, and fine while creating it in a way that there is order in the eye is not going bonkers, looking all over the page. There's attention there and that's a great skill to have. I'm going to take each one of these styles and create a different wreath with it. We will do a fall wreath that went on [inaudible]. We will do a vintage wreath that's very structured and cute and a throw back. The third one will be creating your illustrated take on it with a holiday ring. With these three different methods, only there going to be one that you'd really like that suits you in the way that you paint it. I'm Immarela Henderson. I'm an illustrator. I want to show you how florals arranged in a wreath or in a structured way can be used in so many different ways. I just want you to bring your own style. All right, so let's take supplies. Watercolors are probably going to be the best to use in all of these if you just want one go to watercolor. The first style I'll show you with the dropped watercolor is best used with some concentrated watercolors that are already liquid because they'll really lend themselves to bleed better. The second style, the vintage style, we like to use tube colors because we're going to be mixing it with something else. If you're using pen watercolors, then you'll be mixing that white ink into that paint pen, which you probably don't want to do. The third style is totally up to you because it is a glorification of whatever it is that you do, and bringing that into your floral watercolor wreath. 2. Basic Shapes: In preparing for this class, I have gotten some questions about how to make lines crisp or feeling that your reeds are blobby or your florals are not defined it enough. I really boil it down to your brush size and shape and how much pressure you're putting on it. So if the quality of your brush is not great, your lines are not going to be sleek. This is a round brush and my technique for doing just a basic leaf shape is by using the pressure of my hand. So I'll start lightly, use that point on that brand new brush. It doesn't always have to be brand new, just well cared for, and letting the body, while I press down create that width of the leaf and letting up to create the tip at the bottom again. The first few had a lot of color, then I added some water, and went wet-on-wet because then I added the color after that. So these are some samples of how I use this brush and the shapes that it makes. In another class I have called Brushes, I explore that a little more with different types of brushes and encourage you to create your own sheets and samples of your brushes. Now I want to show you a different technique that I'll use a lot in this class too, where I basically use my brush as my pencil and create the outline, whatever I want to do, and then fill it in. This is good for the control freaks out there who want to know exactly what it's going to look like and be able to define that better. Either way, that rounded, pointed top of that branch is going to be your friend. I'm going to try a different brush, a brush that maybe I suspect some of you are using for your round brushes. This one's a size 5, and it also goes by the same name. It's a round brush but you'll see that it doesn't have that point at the end. It's a rounded edge, but it doesn't have that crisp V at the top. So you'll see what a difference those marks make. Brushes each have their own place in designing and creating. So this can be useful for a firm shape or something like that, different shapes that don't have to narrow at a point so much. But as you can see when I try to use it as an outline, as a liner, basically, it's summing up a little short. It's not going to represent a crisp line for me. Now I'm going to use a liner brush, which you'll see me use a lot. The body of the brush is really long, but the tip is also not very pointy, like the second one I just used. This is size 4. Even though it's not as pointy since it's so small, it's great for creating details and it can create those outlines that you're looking for. So that width really plays a role in what kind of marks it makes. I think we all realize that you use a bigger brush for a bigger painting, and smaller brush for smaller details. But not only is it practical to work that way, it also just creates different lines and this is something that you play with and then we gravitate towards the same brushes because we know what to expect from certain brushes. Now I'm going to use this liner brush the way that I have the last two, creating an outline and then filling it in. It's going to take me a little longer because the brush is smaller, so I need to create more brushstrokes to fill in that same leaf shape. It is going to be crisp, but it's just going to take a little longer, but it'll give you more control. So that's that brush. Finally, I'm going to bring out my Filbert, which doesn't follow any of these patterns. It won't create a great outline. It's not a good outliner. It has its own shape, but the shape that it does create lends itself great for florals, and you'll see why. This is a size 8. Later on, in the Christmas wreath, you'll see that I use a Filbert that's larger, and do a similar technique by rolling it on its side and using the side of the brush, rather than using it flat on to create different shapes. 3. Basic Simple Textures: Let me show you a technique for getting somewhat jagged edges on a leaf. If you want to leave them like this, this is totally fine, but here's another trick that you can try. I am using the very tip of my brush, which has a sharp end. It is if when you use a pencil, you don't want to use a blunt pencil, unless you want blunt lines. Now this color got darker as I added more paint, you can just add more water and as it dries it'll disperse itself evenly. Just to change it up, my brush now will have no color on it, just a little bit of water so you'll see that I can do the same technique and push around. I'm having to be a little more jagged with my lines, brush it on, scrub on the color to reactivate it. Finally, to create textures on your leaves, you can get very fun with it and create those lines and those textures by just placing them right on top of your leaf. 4. Dropped - Prep: All right, so just like the watercolor florals' class, we're going to start with this drops way of doing florals. This time we're going to do a wreaths. The first thing I'm going to do is take out my liquid water colors. These are Ph. Martin's concentrated watercolors, and I'm listing the colors down at the bottom here for you in case you want to have specifically the same colors. Now, I had to shake them up at the bottom. A lot of the pigment gathers depending on which color and I don't squeeze out very much. I want to just take in and take out as much as I need because if I put out too much, it'll start getting too wet on the palette and blending in with other colors. I'm trying to keep this gradient since once they're poured out, it looks very similar, especially these oranges will look very similar with the exception of the pure orange. I'm trying to create kind of a gradient so I can remember where each of these colors are. Now to make arrays, we all know that there's circles, obviously you put two marks at the garland. Even though I can visually predict what a circle width will look like, I find that using a compass really helps. 5. Dropped - Form: Again, the technique for each of these styles is much better explained in the first modern watercolor florist class. I will briefly tell you that with this wet-on-wet method, we're going to paint with water. As I paint with water, obviously, I can see it, the camera can't see it so well. I'm preparing the paper to receive the color. These liquid watercolors are great for this technique because since they're already fluid, they blend themselves to bleed, which is what we want. I'll typically use two colors on each leaf. Start with one color and then dab in another one, the lighter, it could go darker, just depending on the color that I'm wanting to blend with the color I initially put down. What's really lovely about this technique is watching those colors blend on their own. I'm going to draw a little bit of the leaf on here. I'm not really expecting it to stick around really well, but maybe I'll get some hints for the lines as the paint dries. The most important thing to remember with this technique is as best you can, not mess with them too much. If you start blending with your brush while it's very wet, you will not get that bleeding look where you could see how the colors have mingled and almost with explosive on the paper. Be adventurous, use very dark darts at times. Here I'm doing that technique that I did earlier when I'm adding a little bit of a jagged edge texture to my leaf. Be adventurous with your colors. Another key thing to remember is I'm trying to focus on rhythm here. I am doing leaves very sparingly throughout, they are not overlapping quite yet. I want this first layer to dry before I start putting in leaves in between. I would say the biggest frustration for painters using this medium, especially if they're new to it, is that the color will start to bleed in with each other. I didn't want that leaf to run into this one. You do have to treat it like a puzzle. Create those gaps, let it have enough space in between each one of your very wet elements until they dry, if you don't want them to blend together. Now that my painting is dry and like I said, I'm going in later on and adding leaves that essentially go behind these or if they're dark enough they could fill on top. I'm working with a very limited color scheme, really because it's fall and I'm going with an analogous scheme where I'm doing red, yellow, orange. Colors that are next to each other on the color wheel. It's also the safe way to approach this technique. If you start blending colors that are complimentary, then obviously you run the risk of getting muddy colors. In the first class I actually did do that and I went with it. On a leaf I started with pink and then I made it green and I found it interesting, but some of you might find it frustrating. Whatever comfort level you feel, however adventurous you feel at the time, go for it. Realize that these color are very wet, that's part of the fun of this technique, and they will do a lot of blending for you. There is a lot of liberty you have to give the paints on their own. Just to create interests so that everything is not very solid, I'm adding in what I'm calling, hollow leaves. It's basically the outline of the leaf with those veins coming through. Just a gestural drawing of the leaves to break up the monotony of the same style. This is totally optional, this is just something that I wanted to add to create more of a push-and-pull in the leaves. Now I'm going to speed this up. I'm doing more of the same. I'm going to keep filling in this wreath to make it feel full with some opaque, I've filled in leaves that are silhouetted, I'm going to keep adding some of the hollow leaves as I called them until this wreath feels like it's a full form. 6. Dropped - Definition: So I wreath is at least a silhouette of a wreath and you might want to leave it this way, but we are going to add to it. You get to watch me at least add to mine. I'm going to add branches. What I like about branches is with this dark brown, it creates a nice contrast with those autumn colors that I have already been using. The way I approach branches, is I just start with the thickest part, and continue from there. I am resisting saying branch out from there, but I did it anyway. So there's that, and I go on and stem from them. You get the picture. I start with a thick one and move on as I attach more and more. Definitely use a reference if you are new to anything, and you'll learn a lot. Now comes more of a fun part for me. Is bringing these leaves to life by adding details on top. I'm switching it up by using a red violet on this leaf. You could easily use a darker red, or a brown, or a darker orange, but I like to play around with color just a little bit. Just push it a little bit to add interest. Now, I'm going to add berries. Very small berries. I like the shape of these circles, they throw off all those angular lines that I've been creating so far with the branches and those hollow leaves and the leaf stems. The purpose of these berries, and as you consider creating your wreath and laying out what will be in it, is to guide the eye around. A key concept is to keep it rhythmic, to keep the eye moving, and you can do that through color, through different shapes, through different line quality. Consider all these things to create variety and rhythm with it. Finally, I want to go back to what makes this medium, this style, wonderful and it's that wet on wet technique. So I'm starting with either water or a really light color and then dropping in the dark color in the center so that it spreads out naturally and creates that wet on wet effect that we so love. 7. Vintage - Prep: The vintage style floral was definitely the favorite from the first class. We're going to use similar colors as last time. Here are the colors I'm using, I'm using prussian blue, permanent rose. As you can see, my palette is well used. I will show you exactly what colors were on there. I'm also using olive green, I'm using viridian green and vandyke green and this light red. As you can see, it doesn't look like a light red, it looks a little brownish, but it will mix beautifully for this style. The magic sauce is this acrylic white ink. I have used this brand before, I've used Dr. Ph. Martin's pen-white. I like both of them. I prefer the pen-white being a little chalkier and the Daler-Rowney acrylic white is a little more plus sticky. Now I prefer the chalky finish. I use both but this time I'm going to use that calligraphy ink. This is my number 8 round brush, I'm going to use it for most of this piece. Just as I did in the first, I'm going to draw my circle. 8. Vintage - Form: This first phase is going to feel a little blobby. Don't worry, it will get better. The first thing we're going to do, just like we did in the first phase of the wet on wet technique, we're going to create the forms of this wreath. I'm mixing in my color with my white. Again, as I mentioned in the florals class, this is a tender concoction between two watercolors; acrylic ink and water. If you want to thin your paint, you use water. If you want to lighten it, you use white. To add color and body, you use the paint. I'm not starting with the flowers this time. I'm actually starting with what's in the background. Since we're using a semi-opaque way of painting, you can actually work from the background forward. In other techniques that I show in this class, you begin with what's most important, what's really on top, and what you want to be sure people see first, and then fill in behind it. I'm doing leaves, because I find them soothing and pretty simple, and it's also going to help me create a flow around the wreath. It's going to help my eye gain an idea of how this is going to flow together to be the circular shape. Start with something that you feel comfortable with. Just to warm up, break in the paper, create something, and then get onto more exciting or challenging things. That's exactly what I'm willing to do. We're going to do our first flower. I'm going to do about three or four. I am going to erase a little bit because these are going to be pretty light-colored. I'm going to start with a lot of white and some of this permanent rose. My brush is already wet with the white ink and some water. That activated the color very well. I'm just going to make circles. Right now, it just looks like a circle. Later on, it'll look like a flower. I'll continue with this as I create more of these colors since I have this color on my brush. Again, also working in the same color throughout the wreath and hopping around, really helps create variety throughout your wreath. In this next one, I instead used a little bit of that light red. It gave me a coral peach color which is wonderfully unexpected with that color which is why I use it. It's already starting to gain that color scheme has that vintage feel to it. Now since I don't want my wreath to be dominated by flowers, you're going to find that I go back and forth from flowers, to leaves, to flowers again. That way, I can keep myself accountable for creating both. I'm creating this fern design, very simple. If I did it on the right, I will bring it on the left. If I did on the top, I'll bring some in the bottom. I don't want it to be perfectly symmetrical, but you get how I'm creating rhythm as I go along. I'm going to go a little darker this time with smaller buds. I don't want them to be too dominant, but I'm going to create some of these smaller circles which will be flowers. You'll be aware that I am watching my brush out very well, something that I don't do as much when I'm painting with just watercolor. Take care of your brush and wash it frequently. I'm going back to green. This time, I'm adding in some of that light red. The reason I'm doing that, I want it to be a muted green, but still within my color scheme to create these bud-like forms. Using the very colors that you have on your palette to create new colors is a great way to keep things unified, but still have that diversity in color. Now something that's especially fun about working this way is that you can work from dark to light. The background color can be dark, and on top of it, we will make lighter details. I'm going to make these fern-like leaves. You're going to need a really sharp, not sharp, but pointy brush to be able to get those corners on the top, these points. As I continue with the design, it'll come together however slowly. These ferns, they really help to guide the eye, which is something that I really like about them. I'm making my color pretty muted, using my blue and my green with a tinty bit of white. I think even some of the light red is getting mixed into there, so that, again, it creates a more muted color when you mix those complimentary colors. Again, as I continue to bump around in my interests so that the wreath is actually interesting, I'm going to go from dark to a completely light color. Using a lot of white, I'm going to make the outline of another floral shape, but in this very light white. It's got a little bit of the blue still left on my brush. Even though I'm going over some pieces, you can still see that it's reactivating some of that pink color, but I am okay with that because I'll blend it into the entire body, and it won't seem like it's silhouetted against something else. Just to show you that, and to really challenge myself, I'm going to paint this flower right on top of that dark fern-like leaf. Really, the trick is scrubbing it a little bit so that you reactivate that paint, blur the lines of the leaves that were behind it. That way, you incorporate that same pink color back into the flower that you're doing on top with the help of a little extra white. Now, I am still working in a predominantly white color, but I'm going to add a warm tone to it. Something that I want to add with this style is that finding the trends even within florals and botanicals is really important. If you're going for a very trendy wreath, then look for very trendy flowers. These leaf shapes, round, a bit irregular, are very trendy. I felt like my wreath though it was looking very sweet, I felt like it needed a little edge to keep it relevant. Now these leaves are pretty dark. It's going to be a little trickier to work around things. Again, the good fresh point on my brush is going to be my friend to get in those crevices and those corners so that I can create some realistic-looking overlaps. The last thing I'm going to do is add stems. The reason why I'm doing that last, is because I don't want to have to work around all these very thin lines when I'm putting in a lot of leaves. Plus, I can make these thick enough with the combination of the ink in the paint, where they can overlap and go over things instead of just going behind. This will help create context of where things are coming from, and how they're all connected, rather than just having a collection of flowers. 9. Vintage - Definition: Now things start to get a little more interesting. We're going from blobs and colors which are actually looking pretty great, but making them look like flowers and leaves, giving them definition. We're going to go a little darker with our paints. I'm washing off my brush as well as I can because I'm starting a new phase here and I'm going to use some dark colors. Later on, I will use light colors on top of dark colors because I can with this method. But for now, I really want to see these flowers develop that's going to encourage me to move on to the next thing. Sometimes, you paint what is easiest to get you going, sometimes you paint what is challenging when you feel ready for it, and sometimes you paint things that just would encourage you to keep going because you want to see things coming together and you want to see that progress. Now that I've seen this coming together with that particular flower, I feel more confident to approach this next larger one and there is a lot of contrasts in each brush stroke is really going to show through. Here, I'm doing a lighter color. I wanted this one to be a little more subtle, so again, you will hear me bouncing back and forth from methods, from contrasts levels, from saturation levels because it is so important to me that it not looked like I took a piece of stock flowers and took a little cluster of four flowers and leaves and repeated them around the reef. That's what the beauty is about doing your own work here. I'm going to go a little different. I didn't plan each one of these flowers out from the beginning of what they would look like. I'm going with just trying to create a variety of shapes and really just trying to enjoy the process, so I keep things little open-ended, has some ideas in my mind, but then I just stem on from there. Now, I'm going with a really muted color. Again, this color scheme with this vintage look is often very muted. It's bringing in some bright tones, a lot of corals, a lot of harmonies, but then bringing in some Grey, some subtleties, some indigos that really make it feel a little more polished and it's also going to make it feel modern because that is the trend that we are going for here. Again, for those muted colors, we're just going to mix the warm with cool, so if you want to mix the blue with the brown or the pink with the green. That's how you're going to get those muted tones that go along with your color scheme. I'm adding in another color halfway into the game, it's going to be yellow Ochre. I felt like you needed a little yellow to bring things together. Yellow is also going to be very handy for the centers of these flowers. Now I'm going to try to get a really dark color by mixing most of my colors together. I'm doing this outline freehand, I wanted to be loose, it's going to stick out from the rest of the flowers as being pretty different. This gestural take works well with this lighter color of a flower, it's an anemone. This one's a little different than how I was approaching the other vintage style flowers, but I think it's still goes along the same lines within that, of course, that color scheme and it's still a mat flat color on top of another that creates this throwback look. Study your flower, work quickly, and use the tip of your brush for these gestural outlines. Now comes what we like to call the frosting on the cake, the salad dressing, it's useless salad. It's going to be all those little details that are going to make this thing real. It's looking pretty good. But these small little touches are going to make all the difference. What's great about this technique too is that we can go in on dark areas and do light lines on top. I'm always trying to go and somewhat of a muted color scheme to keep it from being too trendy, too hokey, too young and I think these muted colors, even if you want to bring it even less saturated, make it feel more grown-up and that's what is appealing right now. These all centers, they're just stabs with the tip of my brush. If you haven't noticed, I've been using the same brush for a long time. It's all about maintaining control about whether you want to use that bottom end of your brush, or if you want to use the full body of it to create larger shapes. Right now, my focus is in creating unity and, of course, always a little bit of interests. There's always going to be interest as I create detail, so really what I'm focusing is on unity with the same color throughout and peppery throughout the wreath the same repetition. That's going to unify this whole thing to make it feel finished. A lot of times when I'm done, I don't know if I'm done until I sit back. I have sometime, maybe a couple days to just look at it and think, "You know what? That is done. It looks good." 10. Illustrative - Prep: Now I'm going to switch over to the final style that I'm showing you, which is the illustrative watercolor style. That would be wet and dry, kind of a traditional watercolor way of doing this. I'll explain more on that but for now let's get started with masking fluid. Sometimes I use masking fluid when I want to do something that has a lot of overlaps and what I want in the background is to be a lot of fleets. What I mean by that is I am going to block off areas with the masking fluid and place it on places where I want to have something in the foreground that'll be difficult to work around, when I'm working on the background.I'm making little circles, I've chosen one of my brushes that I don't care to use again, because after I use it with this staff, which is basically the consistency of rubber cement I'm just going to toss it. [inaudible] are not going to be much for me.As you see,as usual, I did this circle with my compass just to keep my wreath looking at the right proportion. I'm going to dab whatever areas I'm going to leave as white where I'll come back to at the end with this masking fluids and I'm going to let it dry completely. You do not want to start painting with your [inaudible] it's still wet or mix in with your paint and it'll be a disaster so don't do that. 11. Illustrative - Base Layer: Now the next thing I'm going to do is take out my pencil and I'm going to sketch out a little ribbon. Since this is a Christmas wreath, I thought it'd be great to put small red ribbon on top, and then the way I'm going to go about painting is I'm going to start with those shadows. I feel like the shadows of the folds of the ribbon are what are most important to me. I'm going in with those dark colors first. I'm treating this almost like a puzzle. I start painting the parts that I think are the colors that I want to have. I'll consistently using the same color, then I'll change to a different color or I'll change to a different darkness. I'm going to try to bring in different reds and a red violet to tie this together. It's not just a red ribbon. When you look at something in real life it usually has several colors within it. That's something that will really bring your paintings to like, if you don't look at, say, a ball as just yellow or orange, an orange basketball. You see the reds in it, and the browns in it and you bring those in. Well, I let the first layer of my bow dry. I am going to take out my silver branches. The brush that is flat but curved like a C on the top. This is half an inch [inaudible] silver. It really lends itself to creating the shape of the leaves without a whole lot of effort. I turn it on its side so that as I paint, I can start with that thin tip, go wider as I push down and let out as I go to create the other end of the leaf. You'll notice that I'm doing two things; I am turning this painting constantly and also I'm working, although it's a very wet process, it is wet and dry, so my paper is dry. I'm not laying down water and then dropping in the paint. But I am using a very wet brush, dumping it in the paint so I have a lot of color, a lot of water, and I can go over those masked areas and they are not going to be affected at all. I'll be able to peel off that masking fluid and not have any green on it. I switched to a smaller brush one that I have more control over. Its a size eight round brush. With this I'm going to go in and do the leaves that are going to be underneath the main leaves that I just created in green with my filter. This time I'm going to go a little bluer to create a little more depth and interests and this will take a little more time as I'm trying to squeeze in things behind each other, create an overlap and be a little more careful about not intruding upon the leaves that are already there. Now comes the fun part of rubbing off the masking fluid. Make sure you have clean hands and that your painting is completely dry. I do not show you that my painting has been sitting there drying because that would be very boring. But it is totally dry. I didn't just stop painting and start taking this off. Now that we have our mid painting reveal and we're ready. 12. Illustrative - Detail: To hit those white spots. While I think about some ideas for that, I'm going to work on something else, this is so typical of me. I know what I want to do with that ribbon, and that's what I'm going to tackle first. I'm going with a smaller brush, so I'm moving from a large brush to a smaller brush, from loose brush strokes to more refined brushstrokes, from lighter colors to darker colors, and this is how I approach each one of these paintings. No matter what style I use, there's always the base and getting tighter and more refined towards the end. This brush is a liner brush, it is a four-point liner. I'm going to do some outlines with it in red, I felt like it's a little too purple. I wanted to make it feel very traditional for Christmas. I live in a mid-century home and I think that's made me really even more the vintage vibe, and so I wanted a more classic look. Again, I went for what I know I wanted to do, I know that I wanted to bring in red berries. I'm not sure what I'm going to do with those more scattered circles I painted, but I have some ideas and it all flesh out. At this point, I'm doing actually the base layer of those berries, this is not the detailed part as I was doing with the bow, but I do need a smaller brush because I've got a smaller area to cover and I want to have more control. I'm leaving some of these white. Not that I intend for them to be white necessarily, but I want them to have a little depth. After all what's fun about using masking fluid is having that pure white paper show through, so I don't want to cover it entirely. All those berries are filled in, and that gave me an idea for what I want to do with the next phase. Since everything was starting to feel a little bunched up and clumpy with the berries and the wreath being very full, I wanted something that was slender and created some variety just in its shape. I made these berry more stemmed foliage, they're reminding me of when I was a kid my mum would decorate, make reeds for sales things like that. We'd go to the dollar store or to craft stores, and she'd buy these stems, these plastic wire fake components of a wreath and I thought they were so pretty, they might be sparkling berries or a little white formed ones. I'd occasionally take a bunch for myself and hide it in my room, because I think I just was captivated by anything pretty and forbidden. Aside from that, let's get back to painting. I'm going to start doing the veins of these leaves. I'm not going to do the whole branching out thing, I want to differentiate this wreath and these leaves that are very thick and they just have one very strong stem or vein down the middle. Since I got my feet wet by creating the lines in the white berries then I thought I'd go ahead and do that. Again, I'm going to go throughout the reef, turning it and creating those lines being careful not to overstep parts that are already there, that are supposed to be at least overlapping. I've washed out my brush now I'm using darker reds, a lot of paint, a little bit of color so that I get a richer color there to do these outlines. I want them to be irregular, this is after all an illustrative style, so we should be having fun and not worrying too much about accuracy or trying to represent a different style. This is all about you exploring your own style when you are illustrating particularly in watercolor. Now is the fun part adding tiny little details, few dots, few twinkles. I'm also going to use a bit of that acrylic white that I talked about earlier in the vintage style, and I'll bring in some whites on the ribbon to really make that jump out because right now it's sitting far back. Again, it's all about those finishing touches and combining that with your unique take. Don't be afraid to use small little design motifs or patterns. Things that you like that may seem arbitrary, but really can pack a punch when you're wanting to stand out with your illustration. 13. Wrap Up & Reference: We did three different styles, we did three different wreaths that were three different themes. Now, I want you to pick one or all and show us what you did. There are so many ways that we could go about this, and I hope that you see that. I hope that you watch these classes and you get some ideas that are all your own of how to apply some of the principles here and bring it in to your style, do it on your art table with your supplies, and own it. I referenced a few classes. I wanted to just show you what those are. For quick reference, those are the initial modern watercolor florals class. Class that might have some hand lettering and make it fun, make it sell. Also if you want to take this on digitally, my first class ever, this is my 10th, was design your own watercolorful alphabet. That is a way where you can paint your letters, scan them, and then use them digitally in a variety of ways. If you want to place text in your wreath or on your wreath in that way, that would be a good class for you. Another class I mentioned was the brushes class. If you want to explore the different marks, the different kind of brushes make, and consider quality, and shape, and things like that, you'll enjoy that short class. If you're interested in seeing more of my work and just getting to know me a little better, stay social. Here are my handles. Until next time. I love this community, I hope you enjoyed every bit of it. Bye.