How To Paint Loose Florals | April Watercolor Calendar Spread

Hi everybody, it's Sarah Cray with Let's Make Art, and today we are painting our April Watercolor Calendar Spread. Aw! This project is super fun. I feel like it totally embodies April with the raindrops and the green and the flowers, and it's just fun and loose and kind of messy, but it still creates this really visually stunning painting, so I'm really excited to share with you how to do it. Also, it's important, because April's my birth month. Yeah. So this is the most important one. This is the most important one. That's why I made sure it was extra beautiful. Thank you, I could tell. And actually, within here, there's a tiny portrait of you. Yeah, I'm excited. Yeah. Thanks for you. Thank you. Okay, so we're gonna be doing this project in five steps. So our very first step is we're gonna do a general kind of sketch of our composition. Our second step is we are going to put in the background. Our third step is we're gonna do a lot of wet-on-wet textures and layers. So you can see, there's chaos here, but it adds to the painting, so really have fun with it. Step four is we're gonna paint in our flowers and our leaves, kind of giving them a bit of dimension. And step five is if you wanna do some water drops, we're gonna put those in. Step six, my portrait. Absolutely, of course. I'm gonna show you guys how to sketch a flower. Just so you guys know, when I do this on my own calendar right here, I'm gonna do a very similar composition, but I think I'm gonna actually make this flower a little bit bigger, just so then that the water drop is a bit more pronounced. Does that make sense? That's great. But it's up to you. This is your painting, and we're drawing and sketching, so you can change it however you see fit. So before we get started, let's do our oath, and then I'm gonna go over drawing this flower, and then we'll get into painting. So if you can raise your right hand and repeat after me. I promise to be kind to myself. I promise not to compare my work. And I promise to have fun. I promise to have fun. Okay, I'm gonna scratch a piece of paper here. And so what we are doing is we are going to be painting a flower kind of at its angle, turning away from us. And the reason why is because of our perspective of these leaves and flowers is kind of like angled, right? It's tricky to draw things because our brain loves to put everything bird's eye view flat. So when you think of a hand, you think of a hand that's doing this. But the reality is we see it moves in three-dimensional space. And a lot of times, hands are kind of coming at us. That's why it's foreshortened. They're turning away. They're holding something. All of these kinds of things that put them in a different position. So then what you have is your brain fighting you between what your eyes are actually seeing. So what you essentially have to do is just be like, brain, go away for a minute. Let me just observe what my eyes are seeing and just recreate what my eyes are seeing. That's it. That's really like the base of being able to draw and paint is just allowing to observe, like observing what you're doing and then recreating that. Now, recreating that takes skills and that's why we're here to improve those skills so then you can get to a point where you are painting and drawing what you're seeing, okay? So for the flower, if we were to do an overhead view, it would be a circle. But since this flower is turning away from us, that circle is gonna turn more into a disc or an oval. So that circle is now gonna be turned on its side, which is gonna turn to something like this, okay? Now, the center of the flower on a bird's eye view is right in the middle. But here, if it's turning away from us, it's going to kind of be in the middle but kind of like on this side. And depending on how turned it is, if I were to see a flower more from its side, that disc shape is actually, or that oval shape is gonna get thinner. And then from there, you're just gonna see the tiny bit center. You see that? Once you have your oval and then you know where your center is, this is where we can start putting in petals and you can follow the shape of the oval in order to help you know where your petals go. So if this is my center here, then I'm gonna have petals that kind of come up like this. Now, this is more like a daisy. So you can see that where the petal meets the center, it's a little bit thinner and then it gets thicker and then it gets thinner again, okay? And don't be afraid to let the edges of your petals have an uneven edge to them like this. Our brain likes to do this a lot because that's like simple. But really, we see that there's like a texture element too. And then when you get to the bottom here, you're just gonna keep following that shape. Again, remember that the petal where it meets the center is thin and then it's gonna widen out. And then from there, if you want, you do little detail lines. I sometimes like just thin little detail lines either coming from the top or the bottom, really kind of give it a little bit more shape, okay? And then from there, stems kind of come out through the center, right? So then wherever my center is, I know that that's where my stem would meet. Of course, the stem is gonna be behind the flower. So I'm just gonna do an invisible line. So I lift up my pencil and then here is where I would draw the stem. Nice. Just like that. Perfect. So this is probably the biggest drawing element of our painting. And you can see here on the left-hand side, I thought like, okay, I'll do one that's open and facing. I actually like really dislike this flower. So I'm not gonna put it in, but you can't. So what I'm saying is like, once you understand this shape and how it can move in space, either becoming more thin or like bird's eye view, all of that kind of stuff, it gives you options of how you want your flowers to show up within this composition. The other thing to think about is if you wanted a flower that's just starting to bloom. So this is a flower on its side that has fully bloomed. If you're going and doing like the bud still hasn't fully opened up, then that's a different shape. So if this is my stem and let's say here is my bud, then like, well, I guess that's just a bud right there, but it could be like maybe one little petal, like little petals are coming out of the side. You know what I mean? Like it's just starting to open up. And this can be different stages too. So here's one that's opened up a little bit more. You see what I mean? So you have to think about like, when it's a fresh baby little bud, it's tight. And then through its stages of growth, it does the, the, the, the, the, the, the, okay? So anywhere in between is acceptable and what we would see. So don't be afraid of allowing your flowers to have variation. And this kind of thing would be true if it's on its side, if it's facing you, if it's facing away from you, okay? Okay. That is our drawing lesson. Good job, everybody. Now let's get to painting. So I'm going to, well, let's leave this up here so you guys can see it in case you need to. I cheated. Okay. So now I'm gonna think about where do I want my flower to be? Wait, important PSA, put the hole at the top. Oh my gosh, my call. Yeah, put the hole at the top. Good call. Whenever you're painting in this watercolor calendar, hole at the top. Or you'll have an upside down month. Or you will have an upside down month. So to sketch my composition, I'm gonna want to decide how big I want my flower to go or my oval. And this is gonna be my main flower. Now this, this is the one I'm gonna pay attention to the most. You might have other flowers in your paintings, but those are gonna be more gestural, more loose, and more messy. So I want my flower, I'm gonna have it be a little bit bigger than what I initially drew on my first draft. And so this is probably, I don't know, like three inches, I would say. And then, and I do this because my hand is six inches, almost exactly, which is so helpful. You guys, measure your hand, okay? And then you always have a form of measurement right by you. Okay, then I'm gonna define my center. So we're gonna put it in the middle, kind of like a donut a little bit. You know what I'm saying? Okay, now after doing my center, now I'm gonna start doing my petals. So you can start anywhere. It doesn't really matter just from the center. You're gonna start thin and go out, do a jaggedy edge and bring it back. Same thing over and over. And also the nice thing about sketches is like that's what they are, is they're sketches. So if you do something that you're just like, ooh, I do not like that petal, change it. I will say that for me, I really utilize sketches as just like a base. And if there's something I don't like, I'll fix it when I paint it. I won't erase a million times and redraw because that can then start to mess with the quality of your watercolor paper, okay? And then this is interesting here too that I wanna call out. These are kind of very similar space. And then I have this weird space right here, which actually is not terrible because in flowers, things like that happen all of the time. Nature is random. And so like things can just like move. Maybe a petal got eaten off by something, who knows? But for me and my painting, I can kind of like have control over this world that I'm creating. So if I don't care for that space, I can move it. I can do another petal. Like you can change it. I think it would bother me having this big space. So then I can mentally say, oh, maybe that's where I'll put a little water drop. So it will kind of activate that space or I can do another petal or I can make petals thicker if I think one extra petal will make it too full. You know what I'm saying? You kind of just problem solve your way through it. I'm going to make the two petals a little bit bigger because if I were to do another petal in there, that would feel very dense. And I don't like this guy right there, so I'm just gonna, there we go. Okay, and then I'm going to want the stem to kind of come out this way, like so. And then if I want to do another flower, maybe like just kind of starting to bloom, I can do that there. Maybe a hint of more flowers there. That's pretty much it, that's it. And you don't really need to erase this because we're gonna be doing a lot of dark values around it. So now we're gonna move on to step two. We're gonna put in our background. So basically I'm going to take a brush and I'm gonna want to wet the entire paper. So make sure your tape is sealed all the way around and that your dot hole is at the top. And then use a larger brush to wet the entire area. And you're gonna be avoiding the flowers. So I'm just kind of like going around. And it's so interesting because right after I painted this one, I was just like, darn, I really wish I would have made that main flower bigger. And now that I have made the main flower bigger, I'm like, do I like that? It's funny how you just kind of always question it. But sometimes, and it's totally normal, totally normal to have these feelings of insecurity. Did I just ruin it? Is this gonna mess up? I'm not good at this. Like all of this kind of stuff, it's kind of stressful. So sometimes I just have to say, you know what? It's gonna be fine. It's a piece of paper. Like what's the worst that can happen? Oh no, the flower's a little bit too big. Like that's it. These are the stakes we're talking about here. So I don't want you to stress. Okay, now when it's nice and wet, I'm gonna start putting in, let's put in like a bit of phthalo mixed with a tiny bit of undersea. So it's kind of like this bluish turquoisey color that's gonna be on the right hand side as if that's sky. If you want it to appear like it's a storm, you can use like indigo or something like that, or like a gray. And then on the left hand side, working quickly, I'm gonna just start picking up colors of undersea. Phthalo. Ooh, too much phthalo. We'll do cute gold right on top of that. And again, I'm just touching it in. And because this is all wet, the color is spreading and I'm letting it. I'm not trying to control it. I want it to go all the way around. And it's just gonna bleed everywhere. And that's okay. If you accidentally paint into your petals, we have bleed-proof white that we will be using, so it is not the end of the world. And then I'm gonna start mixing in like indigo or lamp black with my green to get darker greens here because we want there to be a lot of different colors and values. So if you're doing this and all of your greens are the exact same green, throw in a stroke of yellow, throw in a stroke of blue, throw in a stroke of orange even, why not? If you have salt and you wanna do some salt texture, throw that in. I'm gonna actually sprinkle some bleed-proof white here in a minute. And then I'm using my long round pen to kind of go in between and shape my petals. Very similar to kind of negative space painting where I'm painting around my subject in order to form my subject. And then now I'm doing like thinner brush strokes using a really dark value. Again, just trying to switch up the values. So if I'm squeezing my eyes and I'm noticing that there's no light and dark spots, like it's all kind of even, then I mentally know that I need to switch up my values a little bit. And if you wanna lift up your board and kind of control where that water is gonna go, like if you wanna keep all of the value on the left, then you would just lift up your paper on the right-hand side and you see how that's moving all of it to the left? Or if you don't like that, you wanna even it out, you can go back and forth, up and down. While it's wet, I'm gonna take some bleed-proof white and just for fun, just sprinkle some. And this is also where you can kind of like put in some petals. It's okay that it kind of bleeds. Maybe there's another hint of flower over here. Maybe there's another hint of flower here. And this color is just gonna bleed and fuzz out in the green, that's okay, I want that. Okay, we're gonna keep adding like lines and textures. I'm gonna switch to my liner brush. And again, using the same kind of mixtures of undersea green, cube gold, phthalo blue, indigo. I'm gonna start to put in stems. You wanna start doing some like leaves or something you can. Now remember, this is still pretty wet. So whatever I'm putting in, it's not gonna stay sharp. We'll go back in later and kind of like shape, tighten it. And then let's say you just are like, I kinda wanna add a little bit more blue phthalo over here in my sky, add it, why not? Don't be afraid of the bloom, don't be afraid of wonky textures. This is one of those projects where like, it's gonna look great. The other thing is, let's say you really like bokeh. You guys know what bokeh is? So like, let's say that there's, you know, a Christmas tree light and it's in the background and it's out of focus, you're gonna see a lot of circles that are just different values of light. And that's what we call bokeh, is basically these reflected light circles that come from the lens. It's very common in photography and it's beautiful in painting. So let's say that you're like, I love bokeh. You can just start lifting out circles while it's damp and you can do that kind of across if you wanted to do kind of a bokeh feel. Now, I did not originally do that in my first one. However, the value on my right hand, or my first painting initially in this area is very light, that it's creating that illusion of light. Do you see that? Where this one went a little bit darker, that color went, I did a couple extra layers than I did that first one. And so I still want there to be a strong sense of light. So I'm gonna use bokeh as a tool to kind of create the sense of light, even though those values are darker. Does that make sense? Now, for me, how I like to do bokeh is while my painting is damp, I just use my brush to lift out circles. Some people like to put like a dime or a nickel in a paper towel and stamp, that works great. I don't care for that one. I think it lifts up too much color. But that's just me. Because the bothersome thing about this technique is you kind of have to do it over and over again. Because since you're doing it when it's damp, the paint will seep back in. You know what I'm saying? If you get really into camera nerdery, you can start to distinguish different companies' lenses, different time periods of lenses based on the shape of those little bokeh balls. That's so cool. Isn't that crazy? Yeah. Okay, so I decided to add some bokeh on mine. Okay. And you can do bokeh on the left-hand side too. You would, you know, you can throw it in. The reason why I like this method is I feel like it's the most natural in terms of how the color lifts out. I have also tried it where the painting is dry and then I lift the color out. But that actually leaves a hard line along the edge of the circle that I don't care for. So that's why I do it this way. But there is definitely more than one way to go about painting something. So if you found a way that works for you, great. Okay. Now I'm gonna take my liner. I'm gonna put in, you can do like grass textures or leaves. Still using that same kind of, you know, phthalo, undersea, cute gold. And what we're trying to create here is just different chunks of color and value. Again, that is how we make it feel like there's layers of leaves and flowers and all of this kind of stuff. And we are still on the damp part of our paper. So a lot of these marks are gonna blend out and I am okay with that. I'm also gonna wanna start to go in with my liner and kind of paint in between these petals and make sure I'm shaping them how I wanna shape them. Maybe some of them are close enough together that they won't have space. I feel like this area is really blue. I want some more gold. I'm just gonna take straight cute gold. Introduce that to some parts. Kind of warm the area up. Now you wanna make sure that the area around your white daisy, wherever you're gonna wanna put the water drop, is nice and dark. And the reason for that is because we're gonna use bleed proof white to create the illusion of the water drop. And the contrast between a dark background and the water drop is what's gonna make it pop. So if you're painting a water drop on like a medium value background, you're not gonna see that very well. Like, I don't know, I feel like I need to sprinkle more. What is this that I'm throwing in here? I don't know. Pretty. There's just something kind of atmospheric about it that I like. You're throwing in good vibes. Exactly, that's what I'm doing. Okay, now let's leave the background alone for a minute. Let's put the center of my flower in. So I'm gonna use cute burnt orange and a little bit of cute gold. I'm gonna paint the bottom of the center of my flower using that. And then I'm gonna take cute gold or cad yellow, whatever yellow you want, and do the top part. If you want the center to feel dimensional, the very top of the center of your flower should have a lighter value. So it's almost like light yellow, yellow, orange, dark orange should be the color transition just on that little tiny center. And I think I got some bleached white in there, which whenever you get bleached white mixed with a color, it's never gonna go at like as dark in value as you might want it to. I'm just gonna layer quite a bit of paint right there. Now I need to lift some up because I went too dark. I'm just, I'm kind of sopping up the green around my cute gold. I want it to be yellow, not green. Go, there we go, that feels so much better. Okay, now what we want to do is we wanna start creating the illusion of like depth and dimension on my flower. Looking at this, I don't know if I like how separated my petals are. I think later I'll go in with bleached white and kind of combine some of those petals because it just feels too sparse. I want my flower to feel a bit more full, even though like I've kind of, as an artist, I stopped caring about like the realities of whatever flower I'm painting. I'm just thinking of it in terms of the overall composition. So for me, it's just like, okay, this flower feels a little bit too sparse. I want it to feel more full. I'll do layers, but I'll do that later. What I'm gonna do now is if I wanna make it seem like this is a three-dimensional flower where the petals are coming out of the center, then you need to have another value where the petals meet the center. So let's say this is a white flower. So the white of the paper is going to be the highlight on my flower. So what we have to essentially put in now is the shadows on the flower, and that is what is gonna create the sense of dimension. Now, how do you do shadows on white? You wanna pick a neutral, and your neutral can be warm or cool. It doesn't matter. So you can do browns, you can do light greens, you can do blues, you can even do purples, like basically a really light value of a more neutral color. I'm gonna go, you can see in my original one, I chose brown. You see that? I'm gonna see what it looks like if I choose blue. So I'm gonna do a little bit of phthalo. A little bit, because it's very bright. Yeah, you wanna water that sucker down. And let's actually add like, I'm trying to decide if I wanna add indigo or black. You can rotate it as much as you can see. Yeah. Like right in the center here. I have some of this kind of brown gray right here. Let's grab some of that. Looks like that. You guys at home will be happy to know, I now have three jobs at Let's Make Art. One, to remind you to do the oath. Two, to remind you to put the hole on the top of the paper of the calendar. And my newest job, to remind you to water down phthalo blue. Okay, so I have this kind of bluish gray. I did a few kind of strokes near the center, and then I rinsed my brush, and I'm just going to transition that color out. Now, it might touch that yellow center where that yellow bleeds a little bit. I never get mad at that, because honestly, it only adds to the painting. It's really pretty. It's kind of true to character, you know what I mean? Totally, you'll see a little touch of that warmth kind of through on the petals. And you can see, I accidentally touched the background there. It bled in. It's not the end of the world. Things like that happen all of the time. We're gonna dry this. And what we're working on here, essentially, is step four. So I'm working on the flowers and the leaves, kind of shaping them a little bit more. Now, I will say that I feel like my petals got real wonky, so I'm gonna go back in with blue, purple, white, and reshape them. You wanna make sure your paper is dry. You can use a round stick. You can use whatever brush you feel comfortable using. And then I'm just gonna kind of just paint right on top and kind of round out my petals. They just kind of got crooked, like gnarled almost. I don't know. You know what I'm saying? Weathered. They got a little funky. I'm just gonna reshape. Yeah, already that feels better. Now, because I did blue, blue, white on top of this, I'll have to go back in and kind of re-darken the centers to give that sense of dimension. But the overall petal shape, I'm more happy with. And if you're looking at your flower and you're just like, okay, there's something wonky here, but I don't know what I need to do in order to fix it, then you can grab a scratch paper and just try a few different options on a paper to see, okay, is it that the petals are too straight? Do I need to round them out more? Do I need to give them more texture? You can play with it a little bit before you put it on your painting. Okay, so now what I'm gonna do is I'm going to do some foreground stems or some greenery that's a lighter value. So I'm gonna take my bleed-proof white, I'm gonna mix it with some greens, and I'm gonna do this stem here. Now, there are some watercolorists that are anti-bleed-proof white. Can't be me, but everyone has a right to their own thing. So if you wanted to, you could mask off this area and use masking fluid. You could have painted around all of these steps and painted around all the sections so it's like negative space painting. I'm not opposed to using a material if it makes it easier. And there are just some people that don't like it. That's okay. That is not me, though. I use this thing. Then maybe there's other stems, other pieces of grass. It's gonna be really easy to go a lot with this. Don't make hair now, okay? Don't go crazy with it. So we did some light values, and now I'm gonna do some dark values. So I rinsed my brush, grabbed some more green, and then especially in this kind of transition area, this is, now that my paper has mostly dried or totally dried, I can do some leaf shapes if I want. And the liner is really tricky to do leaf shapes with. You really can only get long, thin ones. So if you want thicker ones, you can use a round. Okay, I'm getting to the point where it's very, yeah, so I'm gonna thicken some of these lines and turn them into just leaves. You might be like, what are these leaves connected to? Doesn't matter. Vibes. What are those dots? They're vibes. What are the leaves connected to? They're pretty much just vibes. That's how I live my life, vibes only. And then this is where, if you want to reshape some of these other flowers, you can. Again, I really wanted to create this sense that the other flowers or hints of white that you're seeing are kind of in the background, maybe a little bit out of focus. So you don't have to spend a lot of time on them. Like, people are gonna fill in the information of what they are just based off the coloring. If you want to, like, if there's an opportunity where, like, this one is open, but it's off the page so you don't see the center. If yours is more on the page, put the center in, all of that kind of stuff. These I'm gonna leave. Those are, like. Are you gonna leaf them? I'll leaf those. And actually what you can do too, because this is true to what we would see, is sometimes you would see grass growing in front of flowers. You see what I'm saying? They're, like, deep within the layers of leaves and stems and all of that kind of stuff. To increase the dark value on my painting, I'm gonna do another layer using undersea green and phthalo and cute gold and maybe even indigo or lamp black. Like, just basically a really dark green. And just on some of these sections, I'm just gonna paint some of it in. And it is truly sections. If you look at a photo of layers of leaves, you just see chunks of value. And it gives it that, like, the shadows to create that sense of depth. And let's say you did a bleed-proof white stem or something that just was too bright that it's fighting with the white of the flower. You will wash the green over it. No biggie. I'm gonna go back in. I'm gonna redo the center on my flowers because I lost it there when I did my bleed-proof white. So again, kind of coming out of the center. And then I like to do that. Rinse my brush and then just blend it out. And then if you wanna do some really gentle kind of detail lines using a very similar value to what we just did for the shadows, like let's say, let's say we kind of shape the end of this petal a little bit. Just the softest hint of detail. See how dark that value was? That probably is too dark. So whenever you go too dark, rinse your brush and just blend it out. And then you're gonna add some lighter. There we go. Good enough. And remember that your detailed lines are gonna follow the shape of the petal. So whatever the petal is doing, that's what the lines would be doing too. So if your petal is curving this way, that is what your detail lines would be doing. And then I'm gonna do one more layer of really dark brown at the base of my center just to kind of increase that range of value. Like so, see how that made that pop? And then if you wanna do some texture dots on that center, like little bumpies, you can just try and keep it within a similar color as whatever you're painting on top of. Okay? Okay, that feels really good. Now, the very last step that we're gonna want to do is we are going to want to put in the water drops if you want it to look like it's raining. If you don't, you can leave it just like this. Like this can be done, beautiful. If you want it to seem like there's raining, which I really wanted to do for April, then what you're gonna do is you're gonna take either a liner or a round two, like a small detail brush. I'm gonna take some bleed proof white and I'm gonna do a teardrop shape off of a petal. I'm gonna be thoughtful about where I want this teardrop shape to be because think about gravity. Think about how things kind of collect. So you can do it anywhere within the flower. But for me, I specifically wanna do it coming off the petal and wherever there is a dark value behind it because that's gonna make it pop. So I'm gonna do it right here as if it's kind of coming off this petal here and I'm just gonna do a little teardrop shape. Now, the belly of the teardrop is where you're gonna have a thicker white area and then it's gonna thin out back at the top. Nice. Okay? And then if you wanted to do like another one, you can. I'm trying to decide if I want it like here or here. I think I'm gonna do it here because I don't want it too close to this other flower. It's just like a little rounded edge with the bottom with a thicker white. You see that? Mm, love it. That's it. That's all it has to be. It's distracting so I'm gonna put that down. It's funny that your brain fills in so much detail. That's just like a little white line but I'm like that looks reflective just like water. Yeah, like that's it. That's all you have to do. And then maybe you want some coming off the stem but I'm just warning you like it's really easy to go crazy with these water drops. So like pace yourself. But maybe there's some kind of collecting. And sometimes you can even do just drops of glare to show that it's like wet, you know? And then if you want it to be like it's actively raining, not that it just finished raining, you would do small dashes, small vertical dashes. They need to be thin. And the reason why we're doing vertical dashes is we want to create this feeling like the rain is moving. I did like speckle and bleach the white when it was wet for vibes. So that might like fight against this rain a little bit more but it's fine, you guys. I say it's true to how Boca works, you know what I mean? The foreground ones are sharp and like the further away they get, kind of they get a little bigger and then the very back, those are just really blown out raindrops. There we go. You did that on purpose, I think. I did. Everything I do is with intention, on purpose and I know exactly why. And I pronounce everything just correctly. Yeah, there we go. Doesn't that look good? I love it. I love how loose this is. I love that it's very much like make it your own, change the flower. You can totally do a color if you wanted to do like a pink and purple daisy or something like that. You can switch up the type of flower. Basically, all you want though to make sure is if you want to do as if there's layers of foliage, you need to mix up the hues of green. So different colors of green. You need to have a warm, a cool, a dark, you know, pure, all of that kind of stuff. And you need to have different values. You need to have a light green, medium light, medium, medium dark, dark. You need to have all of those values layered on top of each other and that is how you create the illusions of layers of lots of little things. Okay? All right. I hope you had fun with this. I can't wait to see how they turned out. Now, one last note to help you guys. Watercolor calendars and this is, they're made out of watercolor paper that we paint on. So water is going to warp your paper. That's just the nature of paper. That's what it does. Even watercolor paper. So in order to help try and keep my page as flat as possible, I am keeping this tape down for at least a day. And then that way it has full time to dry tape straight down. If I were to remove the tape right now, what it would happen is as my painting continued to dry, the edges would curl up a lot more. Okay? So that's why I'm going to leave it. But I can show you with this one, at least some of the projects that we have done. I think the only one missing from here is January. So this was our February calendar. Love it. This was March. And then now we have April. My favorite one so far? I love it. And make sure you write, I love Michael. Happy birthday, Michael. Great. Okay. Thank you guys so much. We'll see you next week. And if you want these watercolor calendars, their date list, you can jump in and out at any time. We also released tutorials last year for this. So we already have a full 12 months up on our YouTube channel. You can find these calendars at letsmakeart.com. All right. Thank you guys so much. We'll see you later. Bye.