How to Draw a Koala Bear-Fun & Easy Tutorial and Challenge

Artwork: Zebra Zensation Fineliners & Mechanical Colored Pencils in a Hahnemühle 1584 peach DotGrid notebook.

Challenge: Draw a Koala bear! You can use my step-out below or just draw one any way you wish!

First, I apologize because my scanner is having trouble with the right colors, so you’ll have to take my word for the colors in some of this tutorial.

If enough people give me feedback and indicate they are getting benefit from this tutorial, I’ll continue doing them, and may even try to do some videos. But those take time, so I won’t do them until I know there is reason to.

If you want a place to share your artwork (not just from my challenge or tutorials), I have a Facebook group Fun & Easy Artwork. It used to be Fun & Easy Landscapes, but it is now open to all kinds of artwork.

Now – the Koala step out.

For my example, I used one of the new Hahnemühle 1584 DotGrid notebooks that has a section of peach colored paper (the step-out was drawn on one of the DotGrid pages). I felt the peach was a nice base color for colored pencil drawing.

I used a Fineliner pen to draw the picture.

With a purple colored pencil, I lightly added the first layer of color. The method I used here is called squirkling. In essence, it is just scribbling in circles. It is a great way to blend colors, and adds an interesting texture for woolly fur.

Things to note:

  • I scribbled lightly
  • I left LOTs of open space
  • I colored the nose in lightly but no squirkling.
  • I colored the ears with straight lines, not squirkling
    • to show longer hair
  • I colored the darkest where there will be shadows
    • Under the head and ears,
    • under the furry part of the ears,
    • along the bottom

Okay, this looks like brown, but I squirkled some more with gray pencil.

Things to note:

  • I still left open space
  • I left lighter areas around the edges
  • I squirkled darkest next to the lighter areas
    • This kind of shading makes the figure look more rounded
  • I colored the nose darker at the edges and added white in the center
    • This gives the nose a different texture and highlight than the fur.

It’s hard to see in the scan, but I added white on the tummy and under arms & legs, around the eyes, nose and mouth and on the ears.

I used a violet red color to squirkle the tree trunk and a yellow green for the foliage.

Things to note:

  • I left lots of open space for added color later
  • I used larger squirkles- almost figure 8’s – for the trunk
  • I used larger squirkles in the lower bushes than in the upper tree

I wasted a lot of time trying to get true color, so I’ve skipped some steps in coloring the background. But it’s mostly the same kind of coloring, so I think you can figure it out.

I used a golden brown on the trunk, and this time I colored it in solid. Then I squirkled with the purple pencil that I used for the base on the koala.

I squirkled olive green on the foliage.

I used the purple to add the spots on the lower foliage. I wanted to add some interest without adding a lot of detail.

In the upper foliage, I added a repeated pattern of purple squirkling along each loop of the tree. It’s just a little half-circle of shading, but it creates texture and the feeling of depth among the foliage.

With white pencil, I squirkled a few clouds. I colored over some of the clouds later to give the sky more a stormy look.

Next a blue pencil was used for the sky, colored in strokes about an inch in length. I tried to keep the strokes going in the same direction. In some areas I used lighter pressure so that the sky wasn’t too monotone in color.

For my last step, I burnished. This means I used a light-colored pencil, and with heavy pressure, colored solidly over the other colors to blend and unify them. This is a common method, usually done with white or clear blender pencil. It should be done as the last step, as it is difficult to add any more color once done.

I used white to burnish the koala, and yellow-green for the foliage.

I hope you enjoyed this tutorial, and go on to create many koalas of your own!

Remember, you are welcome to join my Facebook group Fun & Easy Artwork to share your work.


Hahnemühle 1584 (review) at:

Zebra Zensations Technical pens (review)

Zebra Pen Zensations Sarasa Fineliner Pen

Zebra Zensations Mechanical Colored Pencils

Tutorial – How to Draw a Giant Alium

Artwork-Zebra Zensations Technical Pen and Miya Himi Gouache on Hahnemühle Harmony Cold Press Watercolor Paper

Are you looking for:

This is a repeat of the Giant Alium step-out. I’ve updated the text, added a Close-up Alium step-out, a new example painting, and a video.

Giant Aliums are fun because they are essentially colorful fuzzy balls on long sticks with triangular leaves.

In the distance, you can’t see that aliums are made up of tiny petals, which I’ll call florets.

If you want to increase your sense of distance, use the Close-up Alium for the nearest flowers and then leave the other flowers solid, with a little shading to indicate roundness.

Or just make it easy and have all your flowers solid with shading.

Artwork: Zebra Pen Funwari Color brush, Zensations colored pencil and Derwent White Graphik Line Painter in a Stillman & Birn Beige-Tone sketchbook. I do NOT recommend the Graphik Line Painters because they blob.

Hahnemühle Hand Lettering Pad  (review)

Full list of Fun & Easy Step-outs

Want to share your Fun & Landscapes?  Join the Fun & Easy Landscape Facebook Group!

Tutorial – How to Draw a Grove of Trees

Artwork: Daniel Smith Watercolor on Stonehenge Aqua Coldpress Black

Are you here for:

This is a repeat of the Grove step-out. I’ve updated the text and added a new header example. Sorry – I didn’t have time for a video this week.

One of the hallmarks of ‘naive art’ (I recommend you google Naive Art Landscapes) is that real-life perspective is not important. If your buildings are a little crooked and the road in the distance looks as wide as the road up front – it just adds to the charm.

Grove is a forest of trees. It can be used as the main subject of a landscape, but is also great as a secondary subject in the midground or background.

Your grove can look like several trees or a tree with several trunks that split from the same base.

If Grove is your main subject, you add more detail. If it is background, you want to keep it more simple.

This drawing done with Zebra Sarasa Fineliners on Hahnemühle Watercolor Postcard

Wanna buy some of the cool toys I use?

Hahnemühle Rough Watercolor Postcards (review).

Hahnemühle Hand Lettering Pad  (review)

Stonehenge Aqua ColdPress Black watercolor paper (review)

Zebra Zensations Technical pens (review)

Zebra Zensations Fineliner Pen 0.8mm Assorted 24Pk

Daniel Smith Watercolor Half Pan Set of 15 Ultimate Mixing Set  ( review )

Full list of Fun & Easy Step-outs

Want to share your Fun & Landscapes?  Join the Fun & Easy Landscape Facebook Group!

Echo Technique – Fun & Easy Landscape Tutorial

Artwork: Zebra Zensations Technical Pen and Da Vinci Watercolor on Hahnemühle Britannia Cold Press Watercolor Paper. Brushes: Princeton Neptune 1 in Mottler, Princeton Neptune Quill Size 4 and Princeton Velvetouch Long Round Size 6.

If you are looking for the Life Imitates Doodles Weekly Wednesday Giveaway #19 , you can find it here. My Tea Party – Pencil to Paint tutorial can be found here.

Echo Technique

The Echo Technique is pretty simple.

You draw a plant, whether a bush, shrub, tree or flower, using simple shapes.

You add similar shapes inside the plant. If your plant is drawn with round shapes, then you draw round shapes inside. If your plant has long spiky shapes, you draw long spiky shapes inside.

It’s easier to show than explain.

The variety is endless because you can vary the shapes inside, as long as they echo, that is, they are similar to the overall shape of the plant.

Here’s a video, so you can see how I draw the plants, and how I vary some of them.

If the video doesn’t work properly on your device, click the link below it to be taken to the YouTube version.

Now you’ve got the idea, go forth and echo plants in your own unique way!

Wanna buy some of the cool toys used in this tutorial?

Hahnemühle Hand Lettering Pad

Hahnemühle Britannia watercolor paper

Zebra Zensations Technical pens (review)

Princeton Neptune, Series 4750, Mottler Synthetic Squirrel, Size 100

Princeton, Series 4750, Quill Synthetic Squirrel, Size 4

Princeton Velvetouch Series 3950 Synthetic (review)

Three Roads Fun & Easy Tutorial

This is a revised version of one of my previous Fun & Easy Landscape posts.
Instead of step-outs, today I’m showing you some composition tips.  The composition is the layout of your work, how it all fits together, no matter what the subject of your landscape.
Hints for an Fun & Easy landscape.  Keep it simple.  Have contrast – at least 3 values: light, midtone and darks.  Have something that ties it together and leads you through the drawing/painting.  In this case, a road.
I almost didn’t share this video.  I’ve never used gouache before, and struggled with this painting.   But I thought, I’m always telling people to judge their work for what is good about it, not what is bad.  I should take my own advice so people know that I mean it.

Three Road Compositions

I’ve come up with three kinds of road compositions that will tie a painting together, make it seem whole, and help lead the eye through the drawing/painting.  Note that you could also use fences, rivers, walls … anything that creates a ribbon/border through-out a painting.
Winding Roads
Winding Roads gently curve over slopes, emphasizing the height, width and distance of each section.
To increase the feel of the distance, the road is wider at the beginning (the bottom) of each slope and narrows toward the top.  The road in each subsequent slope is narrower than the slope before it.
Wrap Around Roads
The Wrap Around Road also winds around but not gently. It twists and curls like a snake, wrapping around various objects.  It disappears at times, when it wraps behind something.
If you want to imply distance, the road should be wider at the start (the bottom) and be slightly narrower each time it reappears from behind an object.  However, this kind of road is also often used in landscapes where there is no sense of distance or depth.  If the road is a lane or foot-worn track, it may widen and narrow at random, as it does here.
Striped Roads

Striped roads can be straight or slightly curved.  They carve your drawing into sections, that you fill with trees, flowers, rocks and animals. This is a good roadway to use if you like to create rows of objects.

If you want to imply distance you make each road narrower as you go up the page.  Items within each section become smaller to show they are further away.  But if you wish, you can ignore distance altogether.

Slight curved and diagonal to one another.

Straight and parallel to one another.

These are the three roads in my fantasy landscapes? What other kinds of roads might you have in yours?  Please share your thoughts!

Fun & Easy Landscape Facebook Group  

All Fun & Easy Landscape Step-outs

My supplies:

Hahnemühle Black book – Rochester Art Supply FineArtStore

Miya Hima 18-Color Gouache Set

Black Gold® Series 206D DAGGER – Size 1/2

Swirly Tree & Squiggle Bush Fun & Easy Step-outs

If you are looking for the Life Imitates Doodles Weekly Wednesday Giveaway #17 , you can find it here.

You might remember this drawing I did a couple of weeks ago. It gave me ideas – that can be a dangerous thing, but this time it was good.

Artwork: Zebra Metallic Brush Pen in a Hahnemühle Black book.

Usually, my Fun & Easy Step-outs are based on shapes, but today’s Squiggle Bush and Swirly Tree are based on lines. Curving lines to be exact.

Watch on video:

And read as well.

Squiggle bush is based on a series of repeating squiggles. You can line ’em up, alternate them, dab ’em around at random, outline a bunch, vary the size, and use them to form all kinds of shapes. You get a lovely texture, no matter how you use the squiggle.

Artwork: Zebra Zensation Fineliners & Technical Pen on Hahnemühle Hand Lettering Paper.

Swirly Tree is based on a series of curving lines that end in a swirled loop. The straighter parts of each line create the tree trunk, the curved ends create long branches and these are covered in small looped lines that create branch and leaf.

You can vary the number of curved lines and their lengths. The same can be done with the looped leaves.

Artwork: Zebra Technical Pen on Hahnemühle Mixed Media Bamboo Paper

The swirly tree and squiggle bush work well together because they are both line drawings.

You can vary the look of the trees with larger ‘fruit’ loops, and by differing the length of both trunk lines and looped leaves. Alternating the lengths at random creates a different look than alternating them evenly – one long, one short, one long, one short, etc.

If you draw a line, complete the closed loop and then continue to draw an inside line, you get a tentacled look .

Artwork: Zebra Pen Metallic & Mildliner Brush Pen on Hahnemühle YouTangle tile.

Since these two step-outs depend on line, coloring them is a little different. You can color a shape, and then draw the lines. Here I used metallic brush pens to draw the squiggle bushes and trees AFTER I had colored the tile with fluorescent mildliner brush pens.

Notice the very faint purple squiggles in the pink, suggesting bushes in the background. Instead of long, solid lines, I broke them up to create a more natural looking tree trunk.

Tip: I felt the sky was too streaky, so using the same color pen, I did a series of swirls. This creates a textured sky that suggests wind. Doing this doesn’t hide streaks, but they become part of the texture, adding to the work rather than detracting from it.

Part 2: Drawing the Elephant Landscape + Review – Hahnemühle Hand Lettering Pad

This is Part 2 of a 3-part series showing how to draw and color a Fun & Easy Elephant landscape. It includes a review of the Hahnemühle Hand Lettering Pad.

Part 1 shows you how to draw an elephant, using a Fun & Easy Landscape step-out.

Part 3 is a tutorial showing how I color the landscape using Zebra Pen Mildliners, Sarasa Fineliners, Zensations Technical Pen and Colored Pencils.

In the video I’m reviewing the Hahnemühlhle Hand Lettering Pad I used.

My tools in the video are a Zebra Pens Zensations Technical Pen, Colored Pencil, Mildliner,  Sarasa Fineliners and Hahnemühle Hand Lettering Pad.
                                                                     TEST SHEET
Who Can Enter? Anyone with a U.S. mailing address (I apologize to my international friends – complex laws and high postage costs!) 
What Is the Prize?  A  pad of Hahnemühle Hand Lettering Paper, 25 sheets size  A4, 80 lbs, like the one in the review.How to Enter?  Type, or cut and paste these words: ‘I want to win Hahnemühle Hand Lettering‘ into the subject line of an email, and send it to me at LifeImitatesDoodles [at] gmail [dot] com.  GIVEAWAY IS OVER:  Friday, July 13, 2018 at 11:59 PM PDT. Winner will be notified by email. 
Who is Giving Away the Prize? Hahnemühle! I’m just paying the postage to send the prize. Seriously, they have been so generous.  Please consider visiting them on FacebookTwitterInstagram or on their website to say thank you.

Hahnemühle sent me two Hand Lettering pads, one for review and one for giveaway.  I have received no other consideration, and all opinions expressed are my own.
For a full list and links to Fun & Easy Landscape Step-outs go here.

Want to share your Fun & Landscapes? Join the Fun & Easy Landscape Facebook Group here

Devil’s Lettuce Fun & Easy Step-out

The Friday Fun & Easy Landscape Challenge 3/23 -4/6: Draw a landscape using the Devil’s Lettuce step-out.  Extra calorie-free brownie points for adding a Bell 3 plant.

Devil’s Lettuce is a plant also known as Checker’s Fiddleneck, and seems to be the desert version of the fiddleneck fern.  I thought it was an interesting plant with its tiny blossoms growing all along its stem and the clusters of buds and blossoms at the end of its curly neck.

As always – make this your own.  Play with the sizes and shapes of the flowers and the curls and the clusters. Let your unique flag fly!

This example was done with Zebra Pen Zensations Brush pens and Mechanical Colored Pencils in a Hahnemühle Nostalgie Sketchbook. This was my first colored pencil in this book, and I love the way the colors are so bright!

                            Want to share your Fun & Landscapes? 

Join the Fun & Easy Landscape Facebook Group here!

Friday Fun & Easy Hedgehog & Echidna

The Friday Fun & Easy Landscape Challenge 3/2 -3/8: Draw a landscape using either the Hedgehog or Echidna step-out or both.  Extra calorie-free brownie points for use basic shape plants and scribble texture.

I was working on a Hedgehog step-out and earlier this week I drew an Echidna for my hubby’s lunch bag, and I thought how similar the two were.  And then I had the thought – it’s almost Easter, and Echidna’s lay eggs! One of only two mammals in the entire world that lay eggs.

So if you’re trying to think up ways to change up those boring old Easter cards, how about you have an Echidna bring your Easter basket? It actually makes more sense than rabbits, lol.

My Hedgehogs and Echidna don’t have feet or ears.  Well, they do, but they keep them tucked in unless they are using them.

Let your unique flag fly! Every plant and animal in the world is unique and so are you – so your drawings should be too.  Don’t try to make your hedgehog or echidna look exactly like mine.  Experiment with the length and width of the spines.  Change the eye and nose.  HAVE FUN!

Fun & Easy Landscape Step-out drawn with

In my Fun & Easy world, Hedgehogs and Echidnas come in bright colors.  They like to play a game where teams climb on top of each other to form towers. Echidnas are always on the bottom because their long nose provides more stability (people don’t realize that about the Echidna nose, lol).  The team that builds the tallest tower wins.  I think the team in front is in trouble!
Want to share your Fun & Landscapes or find prompts and challenges? Join the Fun & Easy Landscape Facebook Group here!

Heart-filled Fun & Easy Challenge Step-by-Step

The Friday Fun & Easy Landscape challenge for 2/9 – 2/15 is to create a landscape using Heart-Felt Shapes or Basic Shapes.  This is similar to the challenge for the last two weeks, but this time you are challenged to use a photo as a reference.  Please get permission to use any photo that is not yours.

Your finished work need not be a realistic replica.  In fact it shouldn’t be.  Because this might be confusing, I decided to do a step-by-step today.

I’ll confess right off – I had an idea in my head and I didn’t quite capture what I wanted. But that’s half the fun.  I learn while I’m teaching.  Part of what I want to show you is to recognize what makes you unsatisfied with a drawing.  The hope is that instead of thinking ‘I hate this!’ and giving up in frustration, you will think ‘Ah! here’s where I went wrong and here’s where I went right!’.  You’ll realize you didn’t do so badly, and you’ll come closer to what you want the next time.

Supplies:  I used a Zensations Drafix Pencil to sketch out the drawing, a Zensations .05 Technical Pen to draw the finished work, and Sarasa Fineliners to color them on Grumbacher Mixed Media paper. You can use any pencils, pen and paper you wish.  Just make sure you use ones that will be compatible with the medium you use to color it in.

Resources: Today I’m using heart shapes that I presented in my Heart-Felt Shapes step-wisely, and following steps similar to a tutorial I did back in 2013, where I showed how to do a Zentangle-Inspired artwork using a photo as a starting point.

Here’s the photo, I’m using as a reference.  I chose it because I love the color, the sections are clearly separated, and the shapes are simple. As you can tell from my finished work above, I’m not remotely trying to make a realistic work – this is just a good place to start.

Feel free to use this photo or one of your own.

Before we start – I’m using heart shapes because it is almost Valentine’s Day, but you can use any shapes you want. See my Basic Shapes step-wisely) for more help with that.

I recommend reading all the way through the steps before starting to draw.

Step 1:  
I punched up the value in this shot, so you could see my pencil drawing, but you should draw lighter than this.  This is a guide so you know where to place things, so keep it simple – just basic shapes. You can always draw more with the pencil later if you need to.

Before you continue, think about what you want from the finished piece. What do you want to convey? A particular plant or animal? The way the landscape unfolds? The light? Knowing what you want in the first place helps you make decisions (confession: I like to jump in and just make it up as I go.  But that’s harder to teach and more frustrating for a beginner).

What to note about this step – there is:

  • a foreground – the land closest in the drawing
  • a midground – the water, trees and hills
  • a background – the sky
  • the shapes create a rough half-circle around the page

Step 2:  
If you want more control over your finished piece, I recommend using a pencil for all of these steps, and then going over it with pen when you are done.

What to note about this step:

  • The Heart Petal flower is large in comparison to the midground
    • This helps create a sense of distance – larger objects seem closer
    • The flower will be an entry point to catch the eye and start it moving around the page
But…but… there isn’t any flower in the photo! The land and trees are all in silhouette!
The photo is only a place to start.  The silhouettes are too dark, if I want to keep with my theme of heartshapes. I discuss my reasons for adding the flower below, but if you prefer to keep your drawing a little closer to the original photo, you can skip step 2 – YOU have the power!

Step 3:  
How important is the foreground in this drawing? In the photo, even as a silhouette, you mainly see grass.  Beyond adding the flower, I decided to stay with grass.

What to note about this step:

  • There isn’t much detail in the foreground
  • The grasses are all flowing toward the flower
    • In the photo, the eye follows the land from bottom left to right – I kept that flow

Step 4:  

In Step 3, I stated that the eye starts bottom left and goes right.  It then moves up to the land in the mid-ground and sweeps left.
But, when drawing, I like go in a zig-zag.  I feel it helps me keep things balanced. You may prefer to do step 5 before doing Step 4.

What to note about this step:

  • Although the heart outline of each tree is distinct, the heart shapes within are not
    • You can’t see detail as well in the distance
      • incomplete shapes and broken lines help give a feeling of distance
  • The hearts in the reflection are darker and more complete nearest the land
    • detail that is closer to land will be more distinct and fade the farther they are
      • this helps imply deepness in the water

Step 5:  

The bridge of land in the middle is the least interesting part of this landscape. I want to know what it looks like on the left and the right so I know how to scale it.

What to note about this step:

  • Filling in this area, takes some power from my first flower
    • That’s all right – that flower is a secondary focus.  When I color this I’ll use a very light color or leave it white, so that it stands out from the the darker trees
  • The right side is higher than the left. A flat horizon isn’t very interesting.
  • Both the foreground and midground slope downward from right to left. This isn’t a matter of right or wrong, but you should be aware of it.  If you change one or the other, you get a different feel to the landscape.

Step 6:  
In the photo, you only see the tips of trees.  I want more detail, but I don’t mind if it is jumbled. Separation will come when this drawing is colored, but mostly I want some of those heart shapes peeking out from a darker mass.

What to note about this step:

  • There is lots of detail but it’s hard to distinguish
    • Details are hard to make out in the distance so this helps with depth
    • This will be an area of confusion, unless you control the values (light to dark)
      • I intend to use darker color and reduce detail further
        • it is artistic choice to decide which detail to keep
        • this could also be done with shading
You may well ask – why not limit the detail in the first place.  That is the best way to go – if you have a clear idea of the detail you want.  I’m assuming most of the people who read this won’t have, so I’m drawing much, coloring over.

Step 7:  
Now that I’ve established the size of the landmass to left and right, I’ll draw the bridge of trees that connects them.

What to note about this step:
  • The bridge slope in the opposite direction from the mid and fore grounds
    • No right or wrong – you just get a different feeling
  • The tree tips are partial heart shapes – this works even when you don’t have a heart theme
  • The bridge isn’t straight across – that would be boring
  • The bridge of trees has no reflection
    • this implies more distance – that the trees are too far from the water to reflect

Step 8:  
I had a good idea of what I wanted in the sky, but not a clear idea how to get it.  I wanted to get that cottonball clouds feel only with hearts.  This is where I’m not satisfied with my effect.  I won’t say unhappy.  I’m not.  But I didn’t quite get the effect I was going for.  I ran out of time to play with it and just went with my first try.  Maybe one of you will come up with something better.

What to note about this step:

  • There is a space between the landmass and the bottom heart
    • I want the greatest contrast here, so I’ll be leaving lots of whitespace in the sky
  • The hearts are approximately at the center of the page
  • The hearts are larger at top and each is a little smaller as they go down
    • The smaller each heart is, the more distance will be implied

Step 9: 

I apologize – I really was rushing at this point to get this done.
What to note about this step:
  • The hearts overlap
    • No right or wrong, just a different feel if you overlap versus placing side by side
Step 10: 
I also realized at this point that my hearts and the right landmass were going to be closer than I wanted.  This isn’t necessarily a bad thing. An artist might want to do this at times, but this is one of the ways where I didn’t get what I was personally going for.  I lost the whitespace contrast that I needed.  If I had had time to do this again, I would have start reducing the size of the hearts from side-to-side – reducing size with each set of 4 or 5 hearts so they were much smaller at the edges.

What to note about this step:

  • In the second row of hearts, the top curve fits in the gaps between top row hearts
    • No right or wrong – just a different feel if you placed them differently

Step 11: 

I finish the sky by continuing the rows of hearts.

What to note about this step:

  • The hearts decrease evenly on both sides to create a pointed mass
    • No right or wrong – but you get a really different feel to key depending on the shape you create with the hearts.  You might want to follow the photo more closely
You may want to stop at this step if you don’t intend the sky to be your focus.

Step 12: 

I debated about this step.  If you look at the photo, it is mainly the lighter part of the sky that reflects in the water.  I decided to increase contrast in the sky by adding more detail in the water.

What to note about this step:

  • The heart reflections are indistinct
    • The distance thing again, plus I didn’t want the reflections to draw too much attention

Step 13: 

To add yet more detail, I added some ripples to the water, even though it is very calm in the photo.

I’ve left a lot to be done with shading or coloring up to this point.  It all looks pretty cluttered and hard to follow and that will be cleared up by using values.  There should be at least three values – light, medium and dark.

I had hoped to continue this through coloring, but visiting family and computer problems left me no time.  In fact, I would have worked a bit longer on this to make the shoreline more circular and to add more reds to the yellow flower.

Note that I decided to add more interest to the foreground with lighting and color shades.  If I did this again, I would leave the flower out.

Want to share your Fun & Landscapes or find prompts and challenges? Join the Fun & Easy Landscape Facebook Group here!