Transcripts
1. Easy Watercolor Holiday Winter Wreath: Hi everyone. My name is Carrie Sanders and
I live here in St. George, Utah, where I'm an artist
or creative and a teacher. I developed a studio here,
coil cutters studios, and I do hope that you will join us some time for workshops. We do urban sketching, plein air painting
would have just outside of Zion National Park. And there's so many
beautiful things here for us to paint together. Today, this class is all about
a beautiful winter wreath. When the air gets crisp outside and it's time to
bring out the flannel. It is time to paint
some beautiful race and cozy in and just get that
feeling going in our homes. And so this wreath is all about berries and pine
leaves and petals. And it's not overly Christmas. It actually could stay up all year round if you wanted it to. I am going to teach you some wonderful watercolors
skills in this class. It is pure water, watercolor. There's no inking with this one. And we're going to do
different things like floating, highlighting
and shading. And we're going to free hand. Don't let that scare you. You can do it. I'll take you through
step-by-step. And you will freehand this
beautiful pine bow that you will be proud of and you'll want to display and share
with others as well. And this pattern
is very versatile in that it could be used
for different sizes. I've displayed here
for you, a Walpole's, something to sit on a
shelf in a display, or even beat to be used
as Christmas cards. So I hope that you
will join me today and let's paint this beautiful
winter holiday wreath. Why don't you join me over in my studio and let's get started.
2. Supplies Review: Let's begin now by reviewing the supply list that we
need for today's project. And as you can see, there's very few paints
that are needed. And if you don't have something that's
here on my palette, please just use
something that you have at home and substitute for it. This is a super
versatile piece and I want you to be free to use what you have and be excited about not having
to go to the store. That always makes me happy.
I don't know about you. Alright, so what I'm
going to be using today is a hookers green, which is like a sap
green is a very light green and undersea green. You could also use
like an olive green. So just a deeper dark green. This is civilian blue, alizarin crimson,
yellow ocher, sepia. And then this is gouache. So we'll be using
some white gouache to do some highlighting width. Then as far as our
brushes go today again, they are interchangeable
with what you have at home. It's totally fine. I don't anticipate
using any flats today. I'm just going to be
using some rounds, so I will be using a variety. The ones I've pulled
out that I'll probably be using most are, are going to be a 4.6 round along with a couple
of script liners. And this one is a three yachts, what's quite narrow, and
this one is teeny-tiny. This one is a 20 odd, but we're going to be doing
some fine tip varies. So you need something that
has a really fine tip on it. Then you will be meeting a pencil because we're going to be putting our
initial circle on. I don't think I've
talked to you guys about my favorite pencil yet. This is a black wing pencil and they make different types. This is the palomino, which I absolutely love. I buy these by the dozen. I don't like any other type of pencil because
it's so versatile. It can be used for
light shading. Dark shading. It has a soft lead. It comes off easily
if you need to erase. The erasers are replaceable. It's just an amazing pencil that I have fallen in love with. So if you ever wanted
to give that a try and I don't get anything
by saying that by the way. Okay. Then we are going
to be using well, I'm going to use
a stencil today, but it's only because
I've had this for years. But we do need something to make a perfect circle to
start our wreath width. And of course, you could just use something that you have at home that makes it
perfect circle it displayed or
whatever, it's fine. But that's what you
need your pencil for. And then we, I'm using 140 pound cold press
watercolor paper. And I mentioned this in every video and I'll
continue to do so. You can get away with a less expensive paint and still have a beautiful
project finished. But if you try to
use a cheaper paper, you're not gonna be happy
with the end result because you need a solid
paper that's 100% cotton hundred 40 pound at a
minimum because it will hold up to the wear and tear that we're going
to put it through. It interacts well with
the watercolor paint. And it's just the one thing that you're going to
really be happier with if you go ahead and
buy that 140 pound paper. Alright, the last tool I always say because
it's my favorite. And that is a role of tissue. Yes. It's inexpensive and we need something that's
absorbent that we can use to pick up and lift off
paint that we put down. And so I always use my
handy dandy role of tissue. All right. You guys take a moment to
go gather your supplies, and I will see you in
the next video and we are going to get this going. And so exciting.
3. Soft Petals: The first thing we're
gonna do is put a perfect circle in the
middle of our page. And just to give you
a point of reference, this circle is about
three-and-a-half inches in diameter. And that's what I'm
going to be using. You can use any size depending on what
size wreath you want. So if you're doing a
smaller greeting card, then use a smaller circle. It looks to be about the center. Just do a light circle. Don't press hard because we don't want it
to show through. Okay. Now, I do like to just
make a little indicator. And I'm not being precise guys, because nothing is precise
about this wreath. We want it to be free
flowing, free handed. And so there's no
need to measure. But I'm just doing half
and then quarters. And that's just going
to help us with some of the placement of the flowers that we're going to be doing. So now that we have
that in place, let's pick up our liner brush. I'm using this three
odd some water and then some of our sepia thin
it down so it's not too dark. And I always keep
some scratch paper. This is watercolor paper handy
so that I can test it out. See now that's too dark, so I need to add
some more water. There we go. Some light, watery lining
and we're just going to follow our circle here. Okay. The next thing we're going to do is indicate the placement
for our pine boughs. And so I like to put them in the quarters that
we've got here. And I just want to put maybe
an indicated or three. We want to keep everything
going in the same direction, whatever direction
yours is going. So it's kind of curve
it out a little bit. What we're doing is just kind
of gently placing things will help us as we
start painting them in. And we're going to add some very pale
yellow ocher pedals. But again, it will help us if we have a little
bit of placement. So on the quarters that we indicated with
our little markers, I'm just going to
add a little bit of the really light light this I'm still in CPM
very watered down. Just a light indicator of
where those stems might be. Okay, Now that we
have that done, we're going to pick
up number six. Number six round. And I'm going to pick up
some of my yellow ochre. There we go. Alright. Now the secret to
this flower petal is to be super watery
and very little paint. So we're starting at the tip. Cool down and around like that. And you could actually do it in the CPU like that if you'd, if you'd prefer, if you don't
want this yellowish tinge. But we are going
to come back with the yellow yellow
ocher has dried and put some CPM veins and a little touch of
sepia on the bottom. So almost looks like nothing's there.
That's what we want. And I'm going to push
that paint down. Oh, that's so pretty alright. Now, if you want, I'm going to pick
up a little bit of alizarin crimson
just to touch. And while that's still wet, just touch that along the
base and let that pull up. Just give it a minute.
Let's see what it does. And you can steer it, guided little bit if you want. Just let it go. See
how beautiful that is. Alright, let's move
on to the next one. I have to do this.
Why it's while it's still wet with
the yellow ocher. Now, I'm adding a touch of
water because this one was dry side darker than I like. That happens. Just
put some water on your brush and go over it. Let's let those dry.
Actually, these are dry. So if yours are dry, we can start with
those that have dried. We coming back to our
script liner and our CPI, very, very watered
down and light. Okay, we're just
going to if it's dry, wait till it's dry, it's going to strengthen that
being a little bit. Bring it up part-way into the flower and bring
out two veins. And then I like to just pat in a little darkness
along the bottom. If yours comes in a little bit strong because
mine does sometimes to just come back with a little bit of water
and soften it up. That's okay. Okay. The last thing I'd like to do
with these flowers is come in with the lightest
amount so far, as far as payment goes. So super, super
light. Ultra light. And just give an indicator. I haven't done that one
yet. I'll come back but we don't want to outline it. But just an indicator of, hey, I'm barely there, just
a whisper of a panel. And it may feel like it
stands out a lot right now. But once we get all the pioneer in and the beautiful
red berries, these are gonna go right
to the background. There'll be barely there. I always recommend stepping back and looking
at your painting every so often because it gives you a different
perspective than when you have your face close to it. And I step back and
I looked at this. It's very symmetrical. And that's great to start with, but that's not what
we want to end with. So I'm going to come
back before we move into those kind leaves and just add a set of five
here and there. So I'm picking up a
little more yellow ocher. And I think maybe here where
I have a little more space, I'm just going to
add another one. Or maybe, maybe what I'm
gonna do is just turn it on the inside because we haven't added any on the
inside of the wreath. And I'm sorry if
that's hard to see. But look at your
piece while we're at this juncture here
and decide where you can just add a couple of more that will make it
so it doesn't look quite so planned
out, so to speak. We want it to be free. I like that much better. Okay. Now while those dry, Let's go ahead and
get our greens, set up, our liner brush out. And I'll see you
in the next video and we'll start doing
our pine leaves.
4. Pine Needles: I finished up the details
on these additional leaves, so I hope that you did as well. And now we are going to
dive into our pine leaves, which is so fun and
exciting and simple. They may look tricky,
but they are not. So pick up your liner brush
and get some water on it. And we are going to pick up, we're going to start
with our lighter green and just work
that into the brush. Now, there is a technique to picking this up so that you
get a fine tip on your brush. And that is as you pull
down, you lift up, but also you're going to roll this between these two fingers. So press lift. And you can see that that just brings it to a nice fine tip. Press, lift and roll. And as we paint
these pine leaves, the trick my friends
is to be brave and have courage and to do it fast. Because if you do it slowly,
you're going to have wrinkly cricket little lines. So once you, once
you touch the paper, pull fast and as you pull, you lift up, as you can see, the line is thinner at the
tip than it is at the base. And your base, you're
always going to start at the center point
of your pine leaf. In other words, you're going
to pull from here out, not from out, in. So let's go ahead and start sum. And we're going to do three different
layers just so you know, so you don't want to do, you don't want to go in
heavy at the beginning. You want to start light. And so we're going to start
with a light mixture. I'm going to pull in. You can see the way I've
arranged my palette. I have my darker green,
my medium green, and my civilian blue because I'm going to be mixing this blue quite a bit with
my lighter green. And you can see
how that gives me a blue spruce kind of look
at an evergreen blue, which I really like for pine. But we will come in later after it's a little bit
dry and put some of the darker green in to give us some shadowing and make it look more vibrant and dimensional. So I want to be able
to mix those two together and see how I twirl that to a fine tip pack a year
we got to be comfortable. The best way is to always be
pulling towards yourself. So don't be afraid to, I'm gonna be moving my board. Don't be afraid to move yours. We're going to start
just at the base. And, and we're not
necessarily going to be pulling curly Q
out more towards, in that direction rather
than that direction. So we're just going to pull about like that. Remember this is just
our first layer. So we're going to keep a lot
of air between our petals. I'm not starting just
like right up here. I'm starting down here. This is the time
we're going to start to fill in our wreath. I'm going over the top, so we
do want things to overlap. But this is the time for you to design your wreath and
do what you like to do. So I'm gonna go ahead and turn this the opposite direction. Now, it's easiest to do pilots having them
pull towards you. This really starts to format
and shape your wreath. So don't be afraid to
stop and take a look from a few feet back and see
how the shape is looking. Are you maintaining your circle? Are we getting a
little kitty want bus that's happened
to me before. Now. I'm going to come in and I'm going to
pick up some of this. Ocean green, you might
be using an olive green or whatever green
that you're using, but you can see it's more
of a deep mossy green. And that's going to add some
real depth and richness. But we need to be careful
because it is quite strong. Even though I want
it to be shadowy. I still want it to have a
touch of that blue in it. There we go. E.g. you can see here, I didn't put any pine leaves on this side
and the pine needles, why didn't I I don't
know. Let's do it now. So take a minute to look and see what's going on
with your piece. Can see the contrast, see how much darker it
is, and that's great. Remember that watercolor
dries one value, lighter. I just want a few strands that
go out all by themselves, but I don't want it
to get too bushy. If it gets too bushy, then it starts to, you start to lose everything
else around it. Wonderful. Okay, now we're going to pick up
some of that CPA. Well, I should say once
it's dry, you know, I live in Utah where it's
very dry and so things to dry fast and it's easy for
me to keep going quickly. But if you need to stop, stop and let it dry, your greens needs to dry. And then we'll pick
up some sepia. And we're just going to come
in and lightly here and they're not as light as the petals, a little
darker than that. We'd want to put a hint of the pine branch that the
needles are extending from. So this is all dry. So I know that we put an indicator in and mine is
still showing a little bit, but I'm just going to darken
it with broken strokes. I'm not doing a straight line. Just kinda broken strokes
here and there for shadows. You see how that just gives
some strength and contrast. Great. Now step back one more time and see if it's how you like it. Do you, does it
have enough light green doesn't have enough
dark green and blue. Make it how you want it. We will come back
and do a little more filling in later on. But this is the best time
to make sure that you have the basic layout
of your pine boughs. The way that you would
like them to be.
5. Eucalyptus and Vines: Now it's time for us
to start filling in and we're going to be doing
some eucalyptus leaves. I'm going to be using a number six round and I'm picking up some
of the lighter green. It's going to be not as thin
as we did the pine leaves, but still fairly thin. And we're just going to
touch and pull for the stem. And then you just come back and do some lines like
that for the leaves. And you could just add them wherever you feel
like they should go. With this method. If you end up putting one
somewhere that you don't like, which I have done
multiple times before. You just dab at it with a tissue and it blends into the background
and it's no harm them. So these are going to, how eucalyptus is it just
kinda sprigs out and as it can just be a
nice filler anywhere. So I'm just going to
start up here and just kinda pull
it out like that. And maybe like that, I like to start by just
putting some of the sprigs in because we're going to have
one peeking behind there. This one comes across the top. That's a little dark. I'm just going to lighten
that a little bit. Then I'll come back and
do all the little lines, petals, I guess I should say. Because they take a
little bit longer to dry. Alright, so I feel like I
have a bare spot down here. I'm going, again, don't
be afraid to just turn your piece because
you always want to be pulling towards yourself. It's really the best way
to keep a steady line. Great, stop, and take a look at that from a distance
and see how it looks. Using that same color of green. We are going to come in
now and do some vines. So the method for that is
just to start with a vine. And then just a little too
stroke leaf, just like that. And turn them on an
angle on this side. I'm doing these dark so
that you can see them. But I like to do my light. There we go. So when I
do on my actual piece, I like to do them fairly light
because these are fillers, these are background pieces. I don't want everything to
compete with each other. I want the focus
to be on the Pine and then the beautiful red
berries that are coming. So I'm going to thin my
paint down quite a bit. For this, I am going to go places like under here
where it's still white. I'm gonna go ahead and
just put a line in there that's too dark for me. There. Can you see how that
just takes it right off? Let's lighten that up. That's all I'm feeling. So go ahead and take your time, fill in where you feel
most fine should go. And as always, remember to step back and take a good look
at it from a distance. And we'll move on to the next
step. If when we come back.
6. Small Berry Bushes: We are ready now to start our next phase,
which is berries. I'm so excited. First we're going to do the small berries that
just kinda fill in. For this. I'm using that teeny
tiny 20 odd liner. Whatever you have as long
as it's really fine, tip and small will be just fine. And I'm going to demonstrate
how to do this first. We're going to be
picking up some of that CPS for the vine itself. And it's actually kind of a pretty straight
line. It's not cricket. Twisty tourney. Let me set this down so you
can see it better on camera. So it's pretty, pretty straight, but it's very bronchi, by the way, with a
small lung and you have to pick up
paint frequently. So it just branches
off frequently. So it's going to branch off, branch off, branch off. So it's not wavy and like
most branches would be now, I'm picking up a mixture
of alizarin crimson. And we don't want
it to be a strong berry red because that's what we'll use for a large barriers. We want to tone it down
with some of our CPL. It's just kind of meet in
the middle so we don't mess up all our red. There we go. For these berries, they're almost an extension
of the vine itself. So you're just
going to touch and press and just put
a little tip on it, this little bulb
and meet that vine. Nice and thin. Just a little bulb like that. Okay. So you get to decide where you'd like that to
be on your wreath. I've been looking at mine, waiting for it to dry. And as we progress and I've
decided that I'm going to add some over
here to begin with. And then as I get a feel for it, I'll see where I
want to continue. Now, these berries can really start to grow
if you're not careful. So start kind of gently, just maybe with one
line like that. I don't know if you can
see it. I'm doing it dark so that you can see it. And just kinda let it start
growing a little bit. So remember these are
fairly straight lines, three lines like that. But then I'm going to branch
them out in different ways. They don't have to
be exactly the same. Of course. We turn the board. We always want to pull from the main stem out like
we did with our pine. Now, we're going
to pick up some of this red alizarin
crimson and a little CPAT, test it out first. Little more red than that still. Now we're going to
do that extension. The buying, just a little
bulb of a very teeny tiny. You're going to want to
pull it towards yourself. See how that's already
filling in and adding interests and
depth, dimension. Color. Awesome. I love it. Okay. So I think I'm going
to go ahead and add some down here in this area where it's
a little bit there. Now, we don't want to
fill in completely. Remember, we're going
to come in with some fairly good size, very still. And we're going to add in some random leaves that
we haven't done yet. Great. How are you doing? Stop and take a look and see
where it needs to go next. I stepped back and took a
look at mine and I'm gonna go ahead and add some kind
of right in this area. And then coming up
through this area, we don't want to totally
fill in because we are going to be adding a lot of beautiful red berries
pretty quick here. But I do want to add
some right here. I hope that you did the same, that you stepped back and took a good look and
decided where you needed to add some
on your pieces. All of ours are going to
be a little bit different. Okay, I think we're ready to set this aside and let
it dry for a minute. I'll see you in the
next video where we add our large berries.
7. Red Berries: Get started with our
beautiful red berries. And I'm using, this
is a Chinese brush, so I don't really
know what size it is, but you can see that
it's kind of a medium. I would say about a four
or a six with a fine tip. I dislike it because it has
a little bit stiffer tip. And the method we're
going to use is to pick up some water down
Alizarin crimson. And we're going to come up
on the tip and just start a circular motion in
the air and slowly come down and just make a circle. Doesn't have to be perfect. If you leave a little
white spot, That's great. We're going to come back
and highlight any way. We're just going to
add some of those. And what we're going to
do is we want them to be varied in color. Meaning it's okay to pick
up some of that brown. It's okay to have some that are watered down and less pigment. I like to start by just placing some around on our circle vine. Again, it's just
a way of holding a place so that we don't lose track of where our circle is. Now we're going to
cluster some out and pull them out away from the center. So I'm going to start here. You can see that I'm going to
start pulling out this way. A little cluster of berries. We're gonna come back
and add binds and highlights and all kinds
of good stuff to them. And I'd like a
cluster down here. Okay, This is a good time to step back and see where
we want to fill in. So let's take just a moment and see where we want to
fill in some berries. Now that we have assessed
where we want to add berries, I just added some teeny
tiny ones here and there. That's the only
change that I made. And now it's time to go
ahead and add in some depth. So I'm going to take this
mixture that we used earlier, that is the sepia and
alizarin crimson together. And using the same brush, I'm just going to add some, some deepening of color on the bottom edge of
some of the berries. And not all of them,
just a few of them. We want to keep some that
are really light like these, and then add some
that are darker, mostly on these pine boughs. Now, we're going to take Alizarin crimson
and add the stems. Remember to keep your stems flowing in the same
direction of your wreath. We're going to let this dry
and then we'll come back and we'll do some
filling in with some more greenery
and pine links.
8. Greenery to Fill In: We are down to the final
couple of steps of our wreath. It's looking really good. And the next step
that we're going to do is just fill in
here and there. So it's gonna be
different for all of us. I have noticed that I am missing an area that
needs some pine boughs. You might have a couple
of spots that do as well. And I'm picking up my
liner brush and I'm just going to pick up some of
that blue green mixture. And I'm not going to
add in a full-time bow, but just some pine
needles to indicate. I just need a little over here. And I'm really just
going to wholesome, looks like it's coming out
from underneath this pedal. Okay, I took a look at what needed to be balanced
out a little bit, and I decided to add a
few more pine boughs over here, just very lightly. And if that's what
you need to do, go ahead and add
that in now because we need everything to dry
before we can move on. The next step that
we're going to do is to add a little
bit more greenery. These are gonna be
some very loose leaves and we're going to use around. And this is a teardrop
stroke, teardrop pedal. And you just touch and press. And then as you pull towards
yourself, you lift up. That provides the
little vein comes down. You can do these curved. Can do them straight. So I would really suggest that you practice these a
little bit before you do it on your board
to get a feel for it. And you can do them
in different colors. So these, the purpose of these is not to
make a statement, it is simply to add
some gentle fill in. I'm actually going
to use a lot of water and very little paint. I want mine to be
quite transparent. And a little bit on the
blue-green side here. So I'm just going to add a few. Alright, got water
on my brush there. Alright. And I'm just going to just kinda make sure that they're going in the direction
of your wreath. But once that's
dry, remember this dries one shade lighter, That's just going to
be a little fill in. You see how that
just adds in and it gives the flow and balance. Don't want very many,
just want up to you. You can also add a few
just coming to the inside. We are going to splatter our board and then
add some highlights, and we're about finished.
9. Berry Details and Splatter: Before we can splatter, we need to come in and add the little stem to our berries. I guess it's not the stem. I don't know what it's called. It's the little n is
the little fuzzy. And to our berries, the opposite end of
the stem, I guess. I'm using my teeny
tiny brush again, so we just get some fine hairs. And we're just going to
quickly come in and add these. Okay, that's better. And I didn't even put it
on every single berry, but most importantly, the ones that are on the outer edge. Now, we are going to go ahead
and splatter or background. Okay, if you haven't
splattered before, you want to have very,
very thin paint. And you're going
to roll it between your middle finger
and your thumb and turn it upside
down and you're going to tap with
your index finger. So I would recommend
that you test that out on a practice
paper before you start and have your tissue ready to block in
case it goes on too strong somewhere. Okay. So I'm picking up sepia, watering it down, rolling it between my
middle finger and my thumb. I'm going to tap with my index finger and just
lightly add some dots. Beautiful. Let's let that dry for a
moment while that's drying. I know that there are
a lot of people that splatter picking up and
using this method tapping. And that's great,
that works well. But if you want more control, use your finger and
you can see that we have a nice even
amount of splatter. Using another brush
like this tends to flick it in a
straight line and you'll have more issues with straight lines,
splatters and heavy. And so I like to use my middle
finger or my index finger. It takes a little more time, but you do have more control. Now, we are going to pick up
some of that darker green. Alright, let's let that dry and we'll come
back and we'll add our white gouache highlights and details and
will be finished.
10. Final Highlights: Okay, We're going to
highlight our berries now. I want to start by lifting
highlights and then we'll add in strong highlights
using some gouache. I'm going to just use
my brush that I use for the berries in areas
where they're touching. I want one to look like
it's on top of the other. So I'm going to choose
this lighter one, since it makes sense that it would be on top of the other. I'm just going to lightly pull
off some of that paint by using water on my brush and then touching it and you can see how it lifts that paint off. It makes it look like it's on
top of the buried below it. Just a little bit,
just to touch. A little bit makes
quite a difference. And it just needs
to be on that edge. Just on that edge where it
touches the other berry that reflected light always shows, even if it's a dark
spot and a shadow, There's always going to be an
answer of reflected light. Be sure to turn your tissue
over and over so you're not using wet red tissue
on your white paper. Okay. You continue on and highlight your berries by lifting off. Once that's dry, we're
going to come back in with our gouache and
add a strong highlight. I've got some white
gouache out on my palette, and I'm using my thin
liner that we use to do our pine boughs and a
thin down the gouache. And picking that up,
we're going to add some highlights into
our pine boughs. And because the pine boughs are tucked underneath
everything, we want to be really careful
that we're not adding too many and we're not going to
go over something important, but we're just going
to add in a few white. Now I'm going to actually
going to switch brushes. So now I'm going to
use my tiny 20 odd. We're going to add a
highlight to the berries using that thin down gouache. And we're just going
to do a little, little stroke, just a little. I'm bringing us
up to the camera. Just a little dot, maybe a couple more and they
don't have to be uniform. You see how that just
makes things sparkle. Alright. And last,
we always sign our name. Great job. I hope you enjoyed this piece. Thank you for joining me.
11. Class Project: Your class project
is to complete one winter wreath by following the videos I provided
for you step-by-step. I'll be with you every
step of the way. And when you've
completed your wreath, please snap a picture and
upload that into the gallery below by clicking on the big green button that
says Create, Project. And that will allow me
to communicate well with you and make
comments on your piece. But also it allows the
students to see what each other has done and
who doesn't love to see each other's great work. So thank you for
taking a moment to stop and upload that
into our gallery. And also, if you
wouldn't mind taking a moment to review my class, that would help me
as a teacher to understand where I can improve. And also it would
help my ratings with Skillshare in their algorithms. So thank you for taking a
moment to review the class.
12. Final Thoughts: Well congratulations you did it. You've finished your wreath, and I hope you had a
great time doing that. If you can, just take
a moment and snap a picture for us and put that in our gallery to share
with the class. I would be so grateful. Also if you wouldn't mind
just leaving a quick review, that would help me so much. If you enjoy using Instagram, I would love to be part
of your art journey. I'm at Kerry centers art and we can communicate
freely there. And did she know
that if you were to share this class with
friends or family, by clicking on the Share button, you both could
benefit financially. Lastly, if you're still in the mood to paint
some Christmas, I have created a class that is at Christmas known that he's just adorable and the
background is using bokeh. If you haven't tried the
technique of Bokeh yet, that is a real fun project. Alright everybody, I will see you in the next
Skillshare class. Thanks again for joining me. I really do appreciate it. Take care.
Kerrie Sanders, Artist, Teacher, Creator.
