Playful Poinsettia Watercolor Card Class

1. Introduction: I'm super excited to share this new water color class with you. And in the spirit of the holiday season, we are going to paint some playful point sets and make some really fun holiday cards. So come on in and let's get started. In this class, you will learn how to paint a playful point sedia in watercolor. We'll explore color palettes and paints. Wet into wet what, into dry. And glazing watercolor techniques to build depth of color and texture in your point seti is. I'll also teach you how to leave white in your point seti is without using a masking product, will pay point seti is for card making fun. And as a bonus, I'll walk you through adapting the painting techniques to create a five by 7.70 a painting that's perfect for framing, gift-giving, and more. Off demystify and walk you through each technique step-by-step before we paint and create the final project together. Painting point seti IS brings me great joy and definitely starts bringing me into the right mindset for a joy filled holiday season. Watercolor is my favorite medium, and I know it can sometimes feel challenging to work with it. I'm here to help you have more fun and experienced joy with watercolor. May you find pause from the hustle? Pure joy and inspiration here. Welcome. Let's get started and have some fun. 2. Color Palette Mixes: Okay, in this lesson, we are going to review the color palette and the color mixing. So we're going to be using a color palette for this point setting up project. Now, don't forget to download the playful point seti IS handouts there right below the video. They're classified list is there along with the technique sheet handout. So we're going to go ahead and use this color palette area on the handout to swatch out our colors and to play with the different color combinations because we're gonna be using a mix these colors to create the point seti is. So let's go ahead and walk through the colors now, I am using Daniel Smith watercolors. You can use whatever you have in your staff. But my first color is quinacridone red. The second color is quinacridone coral. This is more of a pinky, orangey kind of red. I've got new gamba, which is a warm, more yellow. And that's going to be perfect for the center of our point set is, I've got opera pink. This is just the brightest, brightest pink that I have. I have cascade green. I love that color and I'm gonna get into each color in depth. The pearlescent white is going to be a finishing color and sort of like our splatter color that we're going to be using. Now if you're using the playful point City a card kit, all of the colors are on the card that came in the kit so that you can try them out. You just add a little drop of water and they're ready to go. So let's go ahead and swap out the colors. I'm starting out with the quinacridone red first. So I've got them switched out on my little plate here. And the quinacridone red is a really, really bright red, but not what I would say like our traditional holiday read, there's a lot more pink in this color. And it's just a really nice bright red. And when you add water to it, you can change the value of this color quite a bit and get a different kind of looks. So it's kinda cool red, which makes it super fun to work with and I just love it. It's a super, super bright, bright color. Now remember, you can use whatever read combinations you have in your staff to do this project. I am just going to be using this quinacridone red. It's nice and bright, and it's also kind of cool. Okay. So cool, I mean in temperature. Okay. Super funny. Okay, moving on to the next color and this is quinacridone coral. Now, Daniel Smith's quinacridone coral is a really unique color. It's kind of an orangey pink. But what I love about it is when you can change the value of this color quite a bit by adding a ton of water and you can get a really, really beautiful pink hue out of it. It's just a really nice color. The quinacridone red and the quinacridone choral together. Or two great red combinations because we have. A cool red color and bold, warm, orangey coral color. So quinacridone coral is the second color. If you're using the playful point sedia watercolor dot card, it's already there for you. Now. The next color that I'm using is nuh gan bows from Daniel Smith. And this is a really warm yellow. So the quinacridone ran the quinacridone coral that are on the left here in our color palette are skew a little more on the cool side. So the new Cambodia really will warm this project up. And we're going to be using it in the center of our point set ideas, along with a finishing touch at the end, to just kind of jack up the two colors and make them glow a little bit more. And you can see I made a little mistake here on my color palette by writing quinacridone red. So it changed that to coral. So this is new game bows. And again, you're just looking for a warm yellow in your staff. If you are just using the watercolors that you have. So loving the way these three colors are coming together, their traditional point sedia colors. So it's going to be super fun. Alright, the next we have here is opera paint. Now, opera pink exists in many, many different brands and I loved them in there. A little bit different in every single brand that I have tried. But I'm going to stick with the Daniel Smith opera paint. And we're really only using this color is see how bright it is. It's super fluorescent. It's kind of loud. We're going to be using this color in the end as a finishing layering color to make all of the other colours underneath it glow. So I like to do that with opera pained. And like a yellow, you add that layer at the end. And it ends up being a really hot, hot, happy color to make the layers underneath glow. So this is opera pink. You just want to find the hottest paint that you have in your stash. And you can see how these colors are drying. And they're really super, super vibrant, super vibrant. Now Cascade green, holy smokes, cascade green. Ok. The Daniel Smith cascade green is really unique. It's a very interesting color. It dries, it has minerals in it, and it dries and gives you a different kind of green. You got some turquoise blues in here. What I really like about this color and why I've chosen it for this project is because it's got a vintage quality to it. So when it dries, it's got that green fifties like vintage look and feel to it. And it's a nice contrast that to the quinacridone red and the quinacridone coral. So in our final point sedia project, it's going to be, it's going to just kind of make the quinacridone red and the coral and the yellows in the point sedia just kinda amplify them a little bit and make them glow. And you can see that green. That green just kinda graduates a little bit to a blue, giving it that little bit of that vintage, gee, look. So I'm showing it to you here in one of the final points seti is. And you can see you have got that green look and we're able to add water to it and kind of change the value of that color. But it's got a little bit of blue popping through. So it's kind, it's got that cool feel to it. That's a really nice companion to that quinacridone red. Okay, let's talk a little bit about pearlescent white. Now you can use any kind of Perl color you are metallic that you might have in your stash. I'm using the Daniel Smith pearlescent white. I love this. It's a really nice watercolor to add a little bit of extra metallic look and feel to our finished project. We're going to be using it for a finishing technique at the end and make it kind of splatter all over our point setting up project and just give it a little extra metallic at the end. Ok, so now we're gonna go ahead and move on. I want to talk a little bit about color mixes. Make sure you've downloaded the class supply. Listen the technique she handouts because those are the handouts that you can use to follow along and do the color mixes that were going to be doing. So I'm just going to kind of Swatch out some of these colors and show you how they blend together. This project is going to be a bit of a wet on wet project and we're going to let things dry in between. And then we're going to be layering colors on top of each other. So essentially kind of mixing them together. So those quinacridone reds and that quinacridone coral, you can see that I'm playing with that right here. We're going to be mixing those two colors together. And where they meet, we create a whole different look when the project is dr. So we're going to practice these color mixes. You can do it on the handout or just grab a scrap piece of watercolor paper to kind of play around with this. So when you have the quinacridone red and we dropped that coral into the red. It really changes the color a bit. It blends, it mixes, and we get some really different effects. So you can see that I'm dropping that new game both in the quinacridone red and the coral. And you can see how it's pushing the colors back, but also making everything glow. So this is going to be part of the techniques that we're going to be doing to create some layering in our point sedia. So practicing mixing these colors together on paper first, it's just a really great way to get ready to do the final project. So I'm taking a little bit of quinacridone, red here and just kind of watching it out. Full strength, a lot of pigment, just a little bit of water. And then a cleaned up my brush and I'm grabbing a bit of that new Cambodia. And you can see that I'm dropping it in to the bottom here and look at, look at that color. So we're making some really interesting orange kind of tones. We're able to mix those two colors together to create something different. So playing with these six colors are really going to, and mixing them together are really going to amplify that different kinds of looks that we're going to be able to get with the point sedia. Okay, so I'm trapped in a little bit of that opera peek into that quinacridone red, and it really kind of amplifies that red. We've got a little bit of pink and it really changes the whole look. So you can see in this finished point, sedia, all of the different colors and how I've kinda mixed them together when the paper was wet. So we get these different variations of color which add a lot of texture and dimension to the final point seti project. Okay, I'm going to swatch out again this cascade Green and just kind of show you what it does when it touches the quinacridone coral and the quinacridone red. Because the leaves in our final point sedia are going to be so close to the point sedia leaves. That colors. Those colors are going to blend and mix because we're going to be doing what on what techniques and look at what that cascade green touches that coral. We get a brand new hue and it's purple and it's delightful and it's going to be so beautiful in our final project. Now, I want to just show you a little bit of the purple, pearlescent white. So we're going to be using it as a splatter on top of our final project. But I want to show you how beautifully this colored glazes and layers on top of colors that we've already painted. So that's part of the technique that we're going to be doing as well. So getting to know our colors. And let's go ahead and move on to the next lesson. 3. Supplies: Okay, let's get started by talking about the basic supplies you'll need for the playful point seti at class. Now remember you can use whatever supplies you have in your stash. But I am going to walk through the basic supplies and the colors that we're going to be using for the playful point sedia class. So I have everything here. Let's start by talking about watercolour paper options. And why I'm a huge, huge fan of a 100% watercolor paper. So here is some Stonehenge, aqua cold press. Here is some Artesia 1414 sheets. There's a 100% cotton watercolor paper. It's one of my favorite. And here is some Arches paper. So all three of these paper are a 100% cotton. And they're going to work really, really well with the techniques that we're going to be doing in this class. Now, that's not to discourage you from using a cold press paper that is like a Canson paper. These papers are a wood pulp paper, so they're not a 100% cotton. So I want to show you the difference between the color saturation in a 100% cotton paper versus a wood pulp paper. So on the left-hand side is the point sedia painted in the watercolors on a 100% cotton paper. Now, you can see the texture and dimension in the paper. You can also see how vibrant the watercolors are. So here is the same point, sedia on the wood pulp paper, and this isn't the Canson papers. So you can see I use the same colors, but the vibrancy and the color saturation isn't there. Now, it can get there. It's just going to need to take a little bit more work on your part to add a lot of extra layers. And you can see that those layers kinda lay on top of that would pulp paper. And they don't blend out very smoothly with wet on what techniques. Okay, so let's move on and talk about the paint brushes and the basics. We're going to be using six colors or variation of six colors that you have in your stash. For the class, I've got some water and I have some round brushes here. So just grab a selection of round brushes from your stash that are size for say six and I have a size 12. You just want a nice round brush that's going to come to a nice tip in, in water and that's all you need. You can use a craft brush, you can use one of your favorite round brushes. I will also have a list of the supplies that are in the download as well. If you want to take a look at the brushes that I use. Okay, I've done a little something different with this online class. This time. I have a craft, your joy, playful point, sedia. Hard kit that I have made up and is available on my website here. So what I've done is I have assembled all of the materials that I am using in this playful point sedia class into a kit that you can purchase on my web site, including the watercolors. Now, you don't need this kit to do the class. And I'm going to show you that I will have all of the handouts for all the points seti is and the embellishment pieces that we're going to be working on, you can just download them and print them out on your own watercolor paper if you like. But I'm going to walk you through this kit just in case you're interested. The kit has a watercolor got card with all six of the colors that I am going to be using. These or Daniel Smith paints. I also have three sentiments strips for the cards, for the final cards. And all of the point set is that we're going to paint today are in here as well, and they are predicate for you. There's a mixing palette. I've got some foam adhesive for you, but you can see that the ideas are already predicate for you on a 100% cotton watercolor paper. So you don't have to do any of the fussy cutting. If you choose to pick up this kit, I've got three a2 size pieces of card stock cut into a note card size. And I have three matching on envelopes. So I've got a red, a green, and a pink so that you can make three final watercolor cards, point sedia cars with this entire kit. And again, this is something new that I wanted to do for this class. I wanted to have an accompanying kit just in case you were interested in grabbing everything pre-packaged for you. But as always, in all of my classes, I have complete supply list and a technique sheet handout for the entire class. So you can download that right here in the class. And each page, I've got broken down for you. The color palette that we're going to do an all of the techniques that we're going to do for colour mixing. I have all of the other techniques that we're going to walk through before we start painting the final point seti is the embellishments for the point sedia cards are right here so you can print them out on your favorite watercolor paper and cut them out into the die cut shapes. So everything is in the download for you. If you're not interested in picking up the playful point, steady a ket. I also have the sentiments on the next page, and I'm going to show here, so all you have to do is print those out and cut them up, those sentiments strips and cut them up and you use them for your card embellishments. Or you can just use any kind of stamp that you might have in your Stash or whatever you choose when we start to assemble the cards. But I wanted to supply these cards sentiments for you. And as a bonus in this class, I'm going to walk you through painting that point sedia in a larger size. So I've supplied that for you to download and print out on your favorite watercolor paper. Okay, so let's go ahead and move on to the next lesson. 4. Watercolor Painting Techniques: Okay, let's get started on the water color painting techniques that we are going to use for or playful point seti is. Now, if you haven't already done this, download the class supply list and the technique sheet handout. We are going to be using the page that starts with the wet into wet technique. So I have five techniques here. You can print this handout onto a piece of watercolor paper or mixed media paper whenever paper you want to. And we're going to practice all of the watercolor techniques that we're going to use in the playful point sedia Before we get started. Okay, the first technique we are going to cover is wet into wet. But to wet. Okay. So wet into wet technique is a super super flowy technique. I use it in pretty much all of my classes. But it's going to be a key technique for us to begin to build the layers of color in our playful point seti is. So to get started with this technique, if you're brand new to it, you just need to use your round brush. Now we're using round brushes. Round brushes come to a really nice point. So we can use them for lots of different techniques with watercolor. Going to get that brush nice and clean, and then just add some water to our watercolor paper. So the paper is wet, the brushes wet. Then I've dip the brush into my color, my pigment. I used quinacridone red and then I'm just dropping it in to the water. So it just spreads and moves and kinda does its own thing. And you can see that when you drop different colors on top, as we did in our color mixes, it just blends and smooths out and just kinda moves where the water is. Okay, so the next technique we're going to cover is still wet into wet. But we're going to talk about leaving white on the paper. So my brush is wet and clean. And I have just painted water onto my watercolor paper here. And I've dropped a little bit of pigment up, little bit of pigment onto my brush. And I'm dropping that color into where the water is. So watercolour only wants to go where the water is. You can see that it's not moving into the areas that are already white. It's only staying where the water is. This technique called leaving white is going to be crucial to when we start to paint the point sedia flowers. So we're going to practice it. We're practicing it now because it's a wet into wet technique and I'm going to cover it again. In this lesson. We're going to go into it a little bit more. Ok. So let's go ahead and move on to the wet on dry technique. And I've got some glazing over here and we'll come to that in a moment. The wet over dry technique means the paper is dry, but my brushes wet. So I picked up my watercolor pigment and I'm just painting it down. So onto my watercolor paper. So this is kind of a traditional way you would think about painting. But are wet over dry technique allows us to get a lot of pigment on to our watercolor paper and our area really, really quickly. So it's not breaking down because it's not super wet, the pigments not breaking down. So it allows us to do lots of different layers of color on top of each other. And you want to clean your brush in-between. So I'm just kinda showing you here how I'm taking new Cambodian mixing it together with some of the quinacridone red in a wet on dry technique. Okay, so I'm gonna talk about glazing and layering because we are going to be doing this four to five times in our playful point sedia. So i've layered, I've actually layered a color already down onto my watercolor paper and I've let it dry. I use quinacridone red, so you can see watercolor when it dries, it fades back quite a bit and it can feel kind of disappointing. So the way we get that color to glow on our watercolor paper is we layer over top, which is called glazing. So I'm taking some of this quinacridone red and I'm glazing it over top of that first layer that I already have there. And I just taken a little bit of new gambles. I'm playing with the colors here. And you can see that the watercolor is starting to glow on our watercolor paper. Now, every time we delays and we add a layer onto our watercolor paper, we want to let it dry in between, but already take a look at this from the first time that you saw it. We've added that layer and it's really, really kind of jacked up that color and really made it glow. So if you take a look at our playful point sedia here that we're going to be painting. There are so many layers of that color that are on this point sedia that over time. And when it dries, it's really, really going to intensify that color and it's just going to make it below. It's my favorite, favorite technique to do. Okay, we're gonna talk a little bit about finishing techniques. And these two finishing techniques are textures flattering and leaving white. Now I already started to talk a little bit about leaving white, but I'm going to go into it a little bit more. Now, texture slaughtering is the technique that we're going to do as a finishing technique for our point. Sedia with the pearlescent white or the pearlescent white. Or you can use a wash or acrylic white, or whatever white medium you want to use in the end. Sum. Let's talk a little bit about leaving white. So you can see on this point sedia, I've left the white of the paper showing through. Now, this makes it super easy for you to have some white texture in your painting without adding other media like brisket or a masking medium that you put down on your paper and you have to let it dry and then you paint and then you remove it. So learning this technique can help you just leave the White from the paper showing through without having to add all these other mediums. So I've painted on some, some water onto my watercolor card stock here, just like I did in the beginning when I was sharing this technique. And now I'm just dropping that pigment into the area where the water is. And I did that with a clean brush first, then added my pigment to the brush and then dropped it in. So you can see this pedal has all of that white in there. And I'm moving the watercolor and the water around. And it's only going where the water is. It's not going to go into the white areas because the water's not there. So watercolour only wants to go where the water as. So that's how we can use this technique. To our advantage, this one is already started to dry, so you can see the white from the watercolor paper is showing through. And it's already giving us some extra texture and dimension for our project. And it enables us to go back in. And you can see I'm adding a little bit of glazing in a little bit of new gam bows, just kinda playing around to just give you a little preview of some of the glazing techniques that we're going to be doing in the final point sedia project. And I just think it's such an easy way to leave the white on the paper versus adding the masking mediums. Now if you have masking medium and you want to do it, it's fantastic. You can. It just kind of adds a little bit more time to drying time for your painting. You have to wait for it to dry before you can start painting. Okay, let's go ahead and move on and talk about textures flattering. And this is going to be a finishing technique that we're going to do at the very end of our painting. I have just loaded up my brush. It's super wet. And I loaded it up with a bunch of that pearlescent white paint. You can get the same effect with some white wash, but look at those little flecks and battering of metallic. It's going to be a great finishing technique for our final project. And it's super, super simple to do. Alright, let's take a look at all of the techniques that we covered in this lesson. We've got wet on dry, we have glazing. We have wet into wet, but to wet because we don't want things to be super, super wet, but look at that glazing. So we only did two layers here. And look at the intensity of that watercolor. It is super vibrant. Now if you take a look at the left here, the wet and dry was one layer and it's not as vibrant. But when we add the glazing to it, when we add layers, we get all of that vibrancy and glow in the color. So the wet into wet and then our texture splattering and are leaving white technique. These are all some super, super simple techniques that we're going to be using. And when we pull them all together, they are going to make our playful point seti is just and we're just going to have so much fun. So take a look, all this playful point. Seti has all of those techniques included. And don't forget to download the class supply list and the technique sheet handout if you haven't already done that, so that you can practice these techniques before we move on to painting the playful points, MDM. Okay, so let's go ahead and move on to the next lesson. 5. Painting the Poinsettias: Okay, let's get started on painting the point seti as if you haven't already done this. Download the class supply list and the technique sheet handout. You're going to want to print out your point sedia embellishments that we're going to need, we're going to paint these. You're going to want to print these out onto your watercolour paper. Or if you're using the kit, you will already have the dicots. Now, you can grab your piece of watercolor paper and run it through your laser printer, copy machine or your ink jet printer. So you just want to get that onto your watercolour paper. Or you can print it out and you can transfer it to your watercolour paper using a light box or hold it up against the window so that you can trace the point sedia images onto the watercolor paper. Ok, so let's get started now that we've gathered our point sedia pieces. If you have already fussy, cut them out, that's great. Or if you're using them from the kit, there already die cut for you. And that's great too. So you just want to have all 3 seti is ready. We're going to be painting one of them in the class. And you're going to take those techniques and apply them again to painting the other two to complete all three of the cards that we are going to complete together. Okay? Okay, so we have all of our die cuts ready now you just wanna gather your paints. If you're using the dot card, you wanna gathered the dot part and the little mixing palette that I've included. Or just grab your pants or whatever you have from your stash that you used for the practice techniques. And we're going to move ahead and get started on painting the first sedia already. It's go time. We're going to paint our points. And I've already painted one over here on our right. And that's going to be our reference for the entire portion of this lesson so that we can keep referencing back and forth. So we're gonna get started first with quinacridone, red. I've got a number six round brush you can use whatever round brush you're comfortable with. And the first technique that we're going to be doing is wet into wet. And this is going to be our first layers. Now, there are a lot of points sedia leaves here. So these first layers of wet into wet are going to take us a little while. Now I've got my brush wet and the papers. Dr. One of the things I want to point out, if you're using the die cuts from the kit or you've printed out your point sedia on an ink jet printer. The ink from the printout is going to want to lift, but that's okay. We're going to use it. To our advantage, if you've printed this out on a toner, toner printer, or you've printed it out from a copier, you're not going to have this effect. So what we're going to do is we're going to heat up to the edges of our blooms and our leaves in this point Sadia. And try as much as possible not to touch the edge where the black is. But we are going to be touching it with the point of our brush. It's going to happen. But that's okay because what ends up happening is that black kind of turns into a little bit of a purple tone. And it's going to work beautifully with the colors of paint that we're working with. You can see it mixing in here a little bit. Now. I've done my first layer here on this first Bloom, and I've left a little bit of white. So I added some water to my brush, and I painted the water in first into that bloom. And then I added my first layer of quinacridone red. Now, we're going to repeat this technique for these first layers onto each one of these bloom pedals. And it's going to take a little while and a little bit of time. And we just, it's very meditative. So we're going to take our time and go around each edge of the balloon, add some water, leaves some of the white of our paper, and then add some of our pigment. You can see that some of that black is mixing in, but it's got like this purple hue to it. If it gets to be too much, all you need to do is just take your brush and just kinda pull away some of that water. Okay, I'm going to go ahead and move on to the third bloom here. And I'm going to just keep doing the same technique in this first layer. Adding water to the bloom, painting, the water in. And you can see that my brush has a little bit of pigment. So sometimes that's very helpful because you can really see where you're painting in the water. And I'm leaving quite a bit of white here. And I'm going to drop that quinacridone red in and just kind of move it around to where the water is and let it flow. And just let it flow into those spaces where the water is. It's not going up to the edge of the balloon leaf, but I am just leaving some of that white area so that we can get that first layer in. Now you can see the other two blooms are starting to dry. And you see a little bit of that black that is kinda bled into our Bloom. We're not going to worry about that. It's gonna make, it might make you feel a little bit anxious because it's kind of bleeding everywhere, but I trust me, it's going to look like a hot mess for a little bit before it starts to bloom and become a beautiful point sedia. Okay, so we're going to keep doing this technique for this first layer. Wet into wet, and then adding our pigment and leaving the white paper. We're going to work our way around this point set. I'm going to turn on a little bit of music to just kinda carry us through the first layer of this painting and then pop back in and we're going to move on to our next step. Okay? No. Okay. Okay, I'm coming back in. Well, that was so relaxing, painting all of those different petals and getting that first layer and I hope you found it relaxing to, okay, so I'm going to just finish off these last few little petals here. And you can see, look at that little heart that's in that top pedal. That's totally an accident. I just love that. I love those little, little signs of hope when you're painting. It's just just so much fun. Okay. So I'm just adding in, I've got a couple little blooms here in the center and I'm just dropping in a little bit of color. But you can see where I've left the white of the paper and letting that kind of comes through. That white areas, those white areas in the painting are going to kind of be our guide as we begin to add in our next set of layers. Now, look at it. It, it kinda feels a little bit like a hot mass. There's colors bleeding everywhere, but I promise you we're going to start to add some next level of layers and it's all going to start to come together. So right now we're gonna do the first layers of the, the leaves. And I'm using the cascade green. You can use whatever green that you have in your stash. And I'm using a wet onto dry. So I picked up the pigment on my brush. And I'm putting this pigment on from the outside of the leaf towards the middle. And I'm putting it on pretty thick. And then I'm just going to take that color I've cleaned off my brush and take the color that I've already painted down. Take the peat and I'm just going to pull it out to the outer edge. Will the inner edge, excuse me, of the leaves. So I'm just going to let it move and flow and I'm dropping in some of the colors. So the painting is wet, the leaves are wet and I'm just dropping in some of that cascade Green. And our ultimate effect is going to be like this. You're going to see that texture and you're gonna see that variation between lights and darks in the green. So let's go ahead and move on to the other pedals. And I'm going to do the same technique. The, the point Study a is dry, so the watercolor paper is drive my brushes wet. It's loaded up pretty heavily with the Cascade green pigment. And I've just put it all onto that outer edge of that leaf and I'm pulling it through. So just gotta clean brush and I'm pulling it towards the inner part of the balloon. And then I'm just going to leave it there. And I'm just going to drop a few little bits of cascade green around and I'm just going to let it go. The beautiful thing about that cascade green, like a shared in the beginning with the color mixes, is that it's such a beautiful, beautiful green. I can almost smell it like pine. It's such a beautiful, beautiful green, but it has those turquoise blue flavors in it. It's just so beautiful. I just pointed to that heart again and look at it at little tiny heart. I probably couldn't replicate that again if I tried, but it's just so cute. I love this little signs. Okay, so I'm doing it the same technique again for the last leaf off for the point sedia and just getting that cascade green color in there. And, you know, look at our points idea. It's got its first layers of color on and it feels like it's a bit of a hot mess. But please don't freak out. What we're going to do this is just our first layers in our glazing and we're going to be adding more. Going to look beautiful. Okay? So you're either going to let it dry or you're going to use a heat tool and Dr. appoints sedia completely. And what I want to show you here is when it's completely dry, you can see that the colors that were so super vibrant when we put the first layer on have faded back significantly. And that's what happens with watercolor. But look at that cascade green. All that texture in the green is just so beautiful. So we're trying to get from what's on the left to what's on the right. So how do we get there? We weren't going to start our wet into dry technique and start adding our layers. Working between the quinacridone red and the quinacridone corals. So this is our glazing time. And as we begin to add these layers, you're going to start the point, to see the point sedia start to glow. The colors are going to become super, super vibrant and it's going to start to glow. So we're going to work our way around the point sedia from the center of the blooms to the outer edges. So I'm starting in with the quinacridone, red on this bloom. And I've really kind of loaded up my brush, my brushes wet, the paper is dry. I loaded it up and really concentrated that pigment in the center portion of the bloom, cleaned off my brush and then blended out the edges. So pull that color to the outer edge. Not too much. And you can see that I'm preserving those areas where I've already left white and I'm not coming all the way out to the outer edge of that bloom. I'm just concentrating the, the darker portions of the color in the center of the blooms. And then I'm cleaning off my brush and then dragging that pigment out to the outer edge. Now, I'm going to go ahead and repeat this same technique. This is our first layer of glazing or second layer of color, adding color to this point, set a bloom. I'm going to repeat this technique. All the way around the point sedia. And I'm using the quinacridone red for this portion. And you might see me dip my brush into the quinacridone cornrows and just kinda messing around and playing and seeing what I wanna do here. But this first saturation of color that we're laying down is going to be in that quinacridone red. So I'm going to turn on a little bit of music as we work our way around the plumes, adding this first layer of our color in our glazing technique. Okay. Yes. So I don't know. So. Okay, I'm coming back in and you can start to see how intense the colors are starting to get here. I love this layering technique. We're gonna finish up these last few blooms in the point sedia. But what I want you to notice is that you can really start to see the variation between the lights and the darks here in the points Eddie, as you can see that the outer edge, we're still preserving some of those later hues of the quinacridone red. And we're getting a lot of different values here in our colors. So I'm just adding a little bit of that quinacridone red into some of the smaller blooms. And when you're painting this year, you're gonna need to kind of rotate the point sedia around so that you can, depending upon if you're a left-hand or, or right-handers so that you can really kind of get around the different crevices of the bloom to add some of that color end. But you can start to see that we're getting a lot closer to the point sedia on there, right? So this is our first, the liaising layer, or colors are starting to get a little more globally. The intensity of the values are here. And now we're just going to go ahead, dry it off and go into our third layer. So our third layer is going to, we're going to be using the quinacridone coral. So if you're using more of the orangey red color that you've selected. If you're not using the Daniel Smith quinacridone coral, this is going to be a wet into dry. So our point seti is completely dry. But now our brushes wet. We've got a lot of pigment on our brush. And we're going to work from the outer edges of our blooms doing the same technique that we did in the last portion here where we work from the inside out. Now we're going to work from the outside in so that we can get that variation of color between the quinacridone red and the quinacridone coral. So I started to work on the outer edge of my pedal, clean my brush, and then blended into the center. We don't want to cover up the work that we've already done. What we're doing is we're just kinda meeting in the middle of where that quinacridone red was. And you don't want to go over the areas that you've already preserved. To be white. You want to just kinda keep those areas so you can see that I'm taking my brush and I'm dipping it in the pigment. And then I'm using the pigment and painting that color on the quinacridone coral. Then I will clean my brush and then I'll blend that color out a little bit. So in the last part, we worked from the inside of the bloom out. Now we're working from the outside of the bloom in. And we're mixing that quinacridone red, which was more of a, of a cool red with the quinacridone coral, which is more of a war me, pinky, orange color. And if you've ever looked at Point seti is they have all kinds of different colors in them. But I really love the points that he is that have reds and pinks through just so beautiful the colors in nature or just stunning. Ok, I'm going to put a little bit of music on so that we can get into our painting here and work from her outside of our petals, our bloom pedals and work in C. You're gonna do the same technique that you did from the inside out. And now we're just going to work from the outside in getting our third layer of pigment on our ideas and holy smokes. This point set it is starting to glow. It's just so beautiful. Ok. Let's get Painting. Okay, I'm finishing up the last few balloons that we have here in our point sedia working from the outside in I'm loving the way the combination of the quinacridone red and the quinacridone coral are mixing together. You can see some of those beautiful pinks and some of those orange values coming through. The colors are really starting to attend to phi and glow and just love it. Ok, we're going to be moving on to our fourth layer of whet into dry and doing some more glazing. Now, I'm starting out in the center of the points sedia here with the new gamble. So you're going to want to use whatever warm yellow you are using. If you're not using the Daniel Smith brand. And I'm dropping that yellow in the center and just kind of letting it do its thing. But it's what onto dry everything the papers dry. So I'm just dropping it in and then I'm just letting it kinda blend a little bit and just let it do its thing from the center out. And then I'm gonna take a little bit of that new game bows. And I'm going to layer it in and start to intensify some of the glow in the blooms. So I'm going to add a little bit of ISI, me dropping a little bit of it in some of the center areas of the blooms that are touching the center of the point sedia. And you can start to see how that yellow as we glaze the yellow over top of the quinacridone red. And I'm pulling it out a little bit and just kind of dabbing it in with my brush. You can see that the whole point sedia is starting to glow. That color is getting really intense. That's our fourth layer of colour. And it's starting to really, really glow and come to life. So now we're gonna move on to our fifth layer of color. So I'm driving my point sedia in-betweens before we start this fifth layer. So once the point sedia is dry and it wasn't too, too wet. So once it's completely dry, We're going to move on to adding the next layer of color, and I'm going to use Opera pink. So look at the colors right now we've got such beautiful texture and dimension between the quinacridone, red, quinacridone coral with got this pop of yellow coming out of the center, the cascade green. You can see the granulation in the color. And it's just delightful and new, loving it. So I'm going to add a little bit more of the new gamble, the warm yellow to the centre. So I'm adding that fourth layer to the center. I really want those blooms to pop a little bit more. So I'm just dropping that color and just dabbing it in a little bit. And you can start to see how all of the layers of watercolor underneath it, because they're transparent, our shining through and everything is starting to just come to life. We've got all of these different layers. We've got these different leaves in the blooms and it's just starting to come to life some, I'm just dragging a little bit of that new gambles color out so that you can really see my eye is drawn to that center, but all of those different leaves are starting to, some of the leaves are coming forward and some of them are going back there. Just, it's becoming 3D and it's just so, so pretty. Okay. I'm going to do the same technique with adding some layers with the opera pink. And I'm going to work from the middle to the outside. And you can see, I'm just kinda scratching in that opera pink color. Now, opera pink is super vibrant and like a fluorescent. So we don't want to use a ton of it because we don't want to kind of overshadow the quinacridone coral and the quinacridone red. But we are going to use it very much like I use the yellow just as a finishing technique, just as a finishing pop of color. That's going to help intensify the colors that are underneath it. So I'm working my way around this bloom and just adding little dribs and drabs of the opera peak in just areas where I just want to pop that color a little bit more. One of the key things to remember with glazing and adding all of these layers and Warner, We are on our fifth layer right now, is to make sure that the watercolor paper that you're painting is dry in-between each layer. If it's wet, the colors are just going to kind of bleed and mixed together. And that's more of the wet on wet technique. If it's dry, we're really working with the wet on dry technique and intensifying the colors by adding layers. The more layers we add, the more glow and intensity we can create. Now, you can go overboard, believe me, and end up with kind of like a muddy look and feel. So you really just kinda have to play with it. You're going to know because you're going to be drying in between layers. And if you like the way it looks, it don't add another layer. But these layers look at it a little bit more yellow to that center. The colors, I think the one on the left is become more intense. And below then my original one on the right and look at all that beautiful texture and dimension that we've created from layering our watercolors. Okay, so now we're moving on to the sixth layer. And this is our finishing technique. We're gonna just this as our splatter with the pearlescent white. And this is going to finish off our endpoint sedia and get us ready to for the next lesson where we're going to assemble our card. So I'm really getting that pearlescent white, just kind of a ton of it pigment onto my brush, my brushes wet, and I'm using tapping it on so that I get little splattered everywhere. Now. I got little splattered everywhere, believe me, everywhere. But that's OK. When I'm going to lift this subsidy that you can take a look here, look at that shine in that shimmer and those little tiny dots that we've just splattered in there. I think that this finishing technique you could use, you could use pearlescent white, or you could use whitewash or whatever you want to use as that finishing color. But I really liked that metallic look and feel. Okay, let's go ahead and move on to the next lesson. 6. Creating the Poinsettia Cards: Okay, so now we're going to create the point sedia cards. You may have painted all three of your point seti is. But I'm going to share a card design with one of the points setting is that we painted in the last lesson. So feel free to pull some card stock from your stash. I have a red, green and a really pale pink. If you're using the point sedia card kit, the cards, the notecards are already in the kit, so just pull out the color you want to work with. And we're going to just go ahead and assemble the card. The point sedia colors that we've already painted work really well with these three colors of card stock. So let's go ahead and make the card. I am going to make my first card with this really pale blush, pink color. And I'm just so excited to just kinda create this and pull everything together. So don't forget, in the class supply list and technique sheet download, I have all of the sentiments that I'm using for the cards. You can just print them out on your favorite card stock and just go ahead and cut them out and we're going to use them for the card. So I have some glue, I have some foam squares here, and I have some scissors. So I'm going to take a couple of these phones squares, which just add a little bit of height to the point setting up on the card. And I'm going to just use the and just adhere this to the cart. So now I'm just kinda noodling around where I'd like to position the point ceta and how I want to position it with the sentiment that I'm going to use. I'm going to use the peace, joy, peace, love and joy sentiment. And I think I'm going to go ahead and put the points sedia in that top third of the card. You can see that just kinda keep rotating it a little bit. You could also do the card in horizontal. I'm going to do it in vertical. And it turned it to the right a little bit. I want those leaves to just kind of go off of the edges. A little bit of creating this little V-shape on my card. And just going to put another little pop dot underneath that point, set up just to kinda stabilized that leaf and hold it in. Alright, so now I'm going to attach the sentiment strip and here's a little tip and trick that I'm going to share. That is just kind of creating a banner look and feel. So I'm going to trim off the edges a little bit. Then I'm just going to cut this triangle shape into the edges here. And it creates that little flag like banner effect in the sentiment in it's super simple to do. I just cut that sentiment strip out of my card stock and created that little banner and a moon that go ahead and glue that down. But I'm noodling around a little bit trying to figure out where I want to position it. Sometimes I like my sentiments to be really close to the mean image. And since the point seti is the mean image here, I was just having a little trouble deciding where I wanted to put it. But this these cards are really clean and simple. The highlight of the card is all of the watercolor work that you did. The point sedia. So you can decide where you want to put your sentiment. If you want it to have a connection. And B kind of interweaved with the point setting up or you can just kind of position it on the card. And that's ultimately what I decided to do, was just kind of glue it down and position it in that lower third of the car. So it just kinda is a separate element on the card. And just that little a little bit of white glue to the back of it. And I'm just gonna go ahead and clue that down on to the card stock and just keep this card super, super simple. Now, you can go ahead and create and replicate this look and feel for your other two cards if you want to. So I'm going to add some splatter texture as a finishing technique for the entire card. I've just went ahead and picked up some of that pearlescent white watercolor and I'm just splattering it down onto the entire card. So on the red card stock and the green card stock, it's going to make a bigger impact because there's a lot more contrast in the color. But on this blush pink card stock, it's just so pretty and just a subtle, subtle hint of shine. And this is just a final look at the card. So the point sedia that we painted is really the star of the show. The big embellishment on the front of the card. It takes up most of the card. You could do this card in horizontal or vertical, and you pair it with an envelope and you are ready to go for the holiday season. So you can use all the techniques that we've learned so far and replicate this card two more times. And you'll have three finished cards for the holiday season. Okay, let's go ahead and move on to the bonus lesson. 7. BONUS Poinsettia Painting: I'm super excited to share the bonus lesson in the course. And that is to take all of the techniques and everything that we've learned so far and paint a larger poinsettia, that is unknown line poinsettia. So we are going to paint this five by seven poinsettia together. If you've already downloaded the handouts that I provided for the class, you can take this five by seven poinsettia painting and printed out onto your favorite card stock, your favorite watercolor card stock. And I've already made it lighter for you so that when you print it out and we start to paint, all of those lines are going to fade away. You can also transfer it onto your favorite watercolor paper using the transfer technique that we talked about in the very first lesson of this course. If you're using the playful poinsettia kit, you've already got your paints and you're already there already well loved by now. You have plenty of paint to go ahead and move on and create this painting. And again, here's another look at the color palette that we used for our playful poinsettia die cut pieces for our cards that we've made. So now we're just going to take all of the things that we've learned and the same techniques and color palette. And just paint that point sedia larger. And you'll be able to use this for the holidays. You'll be able to give it as a gift or you can even just do this in your art journal. Okay? So we're starting out with the first layer. And this process is going to take you a little bit longer than it did with the dye cuts. But we're doing the same exact techniques that we did earlier when we were doing the poinsettia for the die cuts. So we're doing our first layer here. And I'm just painting it in. And those lines that I have for my leaves and my petals are going to fade away. So you can paint right up to the edge of those blooms. And those colors are just overtime are going to fade away the more we add watercolor. Now, I am going to add music to this bonus lesson and pop back in. But the intention of this lesson was for you to go ahead and paint this point sedia, larger, keep it for yourself, give it as a gift. But to be able to practice your watercolor techniques on a bit of a larger scale so that you can paint another poinsettia and have some joy and get really into the meditative process of painting. I'm going to turn on the music as I begin to work my way around this point set here. And I'll come back in and have a little chat and we'll just finish this out together. Okay, So I'm wrapping up that first layer with the quinacridone red in my poinsettia. I'm gonna go ahead and let that dry and I'm going to start to move on to my first layers of painting the leaves. And I'm using the cascade green, just like we did in the lesson for the smaller point set is. And I'm doing the same techniques, so I'm adding water to my leaves here and then I'm gonna be dropping in that cascade green. And I'm going to work my way around the whole poinsettia with all three leaves and just keep going back and forth between wet on wet and just adding that color in. Just love this color. So this first layer of greens are just going to move and blend. You might see them. They're going to just mix in a little bit with the quinacridone red. And that's okay. I'm going to intentionally let those colors bleed together because when they do, they're going to start to make a little bit of a violet color. And I want that, I want this to have this watercolor washy, washy poinsettia effect. So I'm going to let all of the colors of our painting here just kinda bleed together. So I'm gonna go ahead and turn on some music. And let's just work our way around the leaves of the poinsettia and take a look at that beautiful violet color that's coming through. We're going to totally leave that there. No. Okay. I'm coming in and I'm just using my heat tool to dry the painting and everything that we've done so far. So you can see that the colors have really faded back quite a bit. But look at all of those bleeds that are happening there. I'm just loving loving the way this is coming out so far. I'm going to go in and start in with our second layer. And I'm using the quinacridone red because we're going to intensify the color from this center of the flower out. So I'm going to work back and forth just like we did with the poinsettia embellishments between the quinacridone red and the quinacridone coral from the center out and from the top down. So I'm going to work my way around the whole painting. And I'm going to try not to go over the white areas that I've already created in my paper and try to retain some of those bleeds that we've created. I'm just loving the way the colors are coming together. It's definitely very washy, washy and watercolor. You can see that the lines that from the original illustration or falling away. And now we're just focusing on creating dimension and texture in the leaves. The leaves and the Bloom's. Okay, so let's go ahead. I'm going to turn on some music. And let's just paint our second layer and work our way around the poinsettia so that we can get a glass. Here. Okay, I've cropped my heat tool and I'm just going to zap this a little bit and yet all of the layers dry, but you can start to see all of the different flower blooms are starting to come forward and I love this variation of color. So now I'm moving on to the background. Now my brush is wet and I'm going to be dropping in some of this new gamboge color. So I've gone around the bloom and just dropped in some water. And I'm just loosely laying and dropping in this new gamboge, the warm yellow color. And I'm gonna do this all the way around the painting and just have some fun with this background. And I'm not really too worried about it bleeding or blending in with what we've already created, what we've already painted here. Just want to have a really nice warm yellow background to create a lot of contrast between the final painting of the poinsettia and the background. Now, if you don't want to create a background for your painting, just don't put one in. Just keep, just move, skip past this one and move on to the next part where we'll be adding an additional, we're going to add some more layers. You can see that some of the colors, like the cascade green is starting to bleed a little bit, but that's okay. Just let it bleed. This whole painting is supposed to be a little bit watercolor, washy, washy, and we want to have some fun with it. So I'm really like this new gamboge color because it does create some really nice contrast for the background. The poinsettia is kind of cool colors with a little bit of warmth in it. And that warm new gamboge just kinda makes it pop. We're gonna go ahead and move on to adding some details and more layers. So I'm dropping in some of the new gamboge in the center of the painting. And I'm going to start to add a third layer of color into the poinsettia. So I'm gonna be working back and forth with adding a little bit of the quinacridone coral in a couple areas and the quinacridone red in the couple of areas. So I'm going to work from the outside of the bloom, from the inside and from the inside out. I'm also going to be adding some finishing techniques over top of these layers with some opera pink and some new gamboge just to make those colors pop. So right now I'm just doing the glazing, adding those third layer over top. When we have dried the painting, a significant amount of the color has kinda faded back. So now we're really, really getting the globe by adding more color. So I'm going to go ahead and turn on some music. And we're just going to finish up this painting with these last few layers of color and it's all going to come together. Okay, I'm going to call this painting done. I'm going to add some splatter finished with the pearl white, just to give it a little bit of a metallic finish and a little bit of Wednesday here at the end. But I'm really like the contrast between the new gamboge and all of the beautiful, beautiful quinacridone red and the coral colors that are in the blooms. And this painting is coming together really nicely. And you can see a huge difference between this five by seven painting that we created versus the poinsettia embellishments. This no line painting really just gives it a whole different look. So you can let this painting dry. You can frame it. You can turn it into a larger cart if you'd like to, but you can see the difference between the two projects that we created today. Same techniques, two different ways to approach the project. I hope you really enjoyed the way your final poinsettia painting came out. I am loving the way this turned out.