Easy Landscape in GOUACHE | Sandrine Curtiss | Skillshare

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Easy Landscape in GOUACHE

teacher avatar Sandrine Curtiss, Artist, explorer.

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 12m)
    • 1. Introduction

    • 2. Supplies

    • 3. Gouache vs. Acrylic Gouache

    • 4. Sketch

    • 5. Sky

    • 6. Water

    • 7. Backgound Mountains

    • 8. Middle Ground Mountains

    • 9. Foreground Mountains

    • 10. Final Thoughts

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About This Class

This is the first class in a series of easy gouache landscape tutorials that I'll be sharing with you throughout the summer.

In this first lesson, you'll learn how to apply the gouache on paper and how to make gradations of colors. 
I'll be using acrylic gouache, but you can use regular gouache, or even acrylic paint if you want to.

Each video is in real time so that you can see the full process and speed when I apply the paint and blend it. Take your time and follow the step by step instructions to achieve a great result.

Gouache is an easy medium to use, but it can be tricky if you don't know where to start. I hope this series of tutorials with help you gain confidence and enjoy this fun medium.

If you're interested in taking this class and are not a Skillshare member yet, I'm happy to share with you my referral link, which will give you a free two months subscription. You will not only be able to take my class, but also thousands of other classes offered here. Have fun!

Click here to sign up.

Meet Your Teacher

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Sandrine Curtiss

Artist, explorer.


Hello, I'm Sandrine.

I'm a self-taught artist, always eager to explore new mediums and new techniques. As I learn more and more, I like to share my findings with other artists as a way to give back.
Until now I've shared my art on YouTube, Instagram, and Facebook, and I'm happy to be able to do it in a bit more details here, on Skillshare.
I invite you on an art journey where we'll explore all sorts of media, both well and not so well known. So pack a bottle of creative juice, and come along with me.


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1. Introduction: Hi everyone. I'm Sandra and Curtis and I'll be your teacher today, have been playing with gouache and acrylic wash for a while now, and I thought I'd share with you what I've learned so far, as well as a few tips and techniques. This new series is all about landscapes. I've always been intimidated with landscape paintings until I tried painting them with quash. And I was able to break down the process and several easy steps which made it a lot less frightening for me and a lot more enjoyable. So in this first class, we'll learn about the difference between regular gouache and acrylic wash. And you learn how to apply different mixes on the paper, as well as how to pink gradients, which will help you for your final project. Once you're done with practicing, it will be time to tackle the first landscape. I chose a very simple reference photo that you can easily sketch on your paper or your watercolor journal. Then you'll apply the paint one step at a time using the same technique as during your practice exercise. You'll repeat the process several times until you end up with a beautiful finished painting. I hope you'll join me in this class where you can follow the easy step-by-step instructions to paint an easy and colorful landscape at your very own pace. You can share your progress along the way and ask any questions. I'll see you in class. 2. Supplies: For this project, you're going to need a pencil or a mechanical pencil with an eraser can be any kind of eraser. I'm used to using a kneaded eraser, but you can use whatever you want. That will be to sketch your landscape. Brushes. We're only going to use a small flat and a small round. And this, you can even get away with it. A watercolor or mixed media sketchbook. This one is a handbook journal. As long as your paper is thick, I would recommend at least a 140 pounds or you don't have to use a journal, you can just use a piece of paper from a pad. It's up to you. I do not want to do it too big because we're just practicing. And the bigger the painting, the harder it's going to be to work on the gradient. So I made a small painting and it's five by seven inches. I wouldn't go any bigger than this to start with this and it's totally optional. Some painters tape, artist tape for them, it's called or washy tape that you're going to use to frame your painting. In other words, once you've measured the space of your painting, you can put the tape around it. And that way you can paint an even go a little bit over the tape. And once you're painting is all dry, you can remove the tape and have nice crisp borders. Again, that's totally optional. It's up to you. Now for the paint, you have several options. You can use regular gouache and you've got plenty of different brands, can use. The easiest one to find. A little bit everywhere is the Winsor and Newton. You can get the M Graham, the da Vinci. There is a main area as well. If you've been following the jelly cup craze, you could even use some hemi guage. I'll be using acrylic wash, which are very similar to guage. And in the next video, I'll explain to you the difference between the two. So you really have a variety of paints you can use. And if you do not have an egg wash at all, you can always use acrylic. And I would recommend some heavy body because it'll be easier to get the same effect as squash. It's thicker and it's a bit more opaque as well. You can choose whatever brand you have. To pick the colors. I used my swatch book where I have all my paint colors. And I'm going to be using the strong orange John Brilliant mixing light, ultramarine and burnt umber. So I realized that not everybody might have these two colors is to oranges because they're more like convenience colors already mixed. But let's see if we can make some colors to get as close as possible to these two. For this, we're going to need a mixing palette. And we actually going to need that for our project to mix our colors together. But I'd like to use are ceramic tiles that you can buy the hardware store for very cheap a dollar or less. I've got all sorts of different sizes. This is just going to be a simple sum. I'm going to use a small one. But I use a bigger one for my painting. So first our strong orange naratriptan, brilliant. This is very orange. It's a little transparent and this is a lot more opaque. It's molecule flesh color. I think that we can achieve this color with maybe the permanent yellow deep and the spectrum read from Winsor and Newton had Stan, let's try. 30 is just a little bit of the red. So this is a similar color. I think that could work. I think it will work pretty, pretty well. Maybe with adding a little bit of light, Let's try. I've got some zinc white is a mixing white. I think by mixing the right quantity of those three colors, you can achieve a very similar color. We're going to wait till they all dry because it's always a color shift. And in the meantime, we're going to see what we can mix to get this. So like I mentioned earlier, this is very much like a flesh color and some brands have actual flesh tones. So we've got named Mary here that has a flesh tint, Winsor and Newton has a flesh tint as well. But the hint of yellow might actually get the yellow from here. Maybe I'll mix mix it with this makes it look seconds. Very similar. There's a bit of light. Maybe a different rent. We could try the mix that we did for this orange, Naples, yellow. Maybe it was I think we're getting somewhere. My advice if you don't have all those colors, is to make a color chart of the colors you have. Here. I've got all my Winsor and Newton colors and see what you could mix to get something similar to the color you need. And don't hesitate to take a piece of scrap paper and test it out. 3. Gouache vs. Acrylic Gouache: There's basically one major difference between regular gouache and acrylic wash. He used them both the same way, but with regular gouache. Once it's dry, you can actually reactivate it just like watercolor and acrylic wash. You can't just like with acrylic. So let's do a few swatches so you can see the difference. And we starting with some Windsor and Newton ultra marine, It's very creamy and semi-transparent. And when you add water to the mix, you'll see that it dilutes very well, just like watercolor and you can actually use it acquired or colors. The second swatch is ultramarine acrylic wash by Turner. And the paint is a little thicker and a little bit more opaque. But really the results will vary depending on the brands. Some brands of guage are a little bit more a pig than others. Some dilute better, some spread better with water. And it will depend also on the paper that you use. So here, just like with spoken language, the acrylic wash can spread very nicely with water. That said, it tends to dry pretty fast. And once you add a little bit of water to the end of it, can see that it's already a little bit dry and does not spread as easily as the gouache. So you basically have to work very fast if you want to do special effects with the acrylic wash. Now just for the heck of it, I'm using a second tube of gouache, which is by Holbein, and it's another ultramarine blue. And this one seems a little bit more opaque, right out of the tube then the Winsor and Newton. But it spreads very nicely with water, just like the Winsor and Newton. So to say to dry everything with a dryer, just to do my testing. As you can see, the regular gouache reactivates with water very easily. You can even left the paint with a paper towel to sweat the area you want to lift and then apply a paper towel on top and you can remove the access Pete. Now, depending on the colors you use, some pigments are more staining than others. So you might get back to the white of the paper or very close. With the second wash swatch, I get the exact same result. I'm sorry, I must apologize for the blurry picture. My camera has a touch screen and I think I might have changed some settings by accident. And so parts of this video are little bit blurry, but luckily I caught it and I was able to fix this later on. Now for the acrylic wash, you'll see that it fairly rewet. There's only a literal stain on the paper, that's all. And you definitely cannot lift it. Going back to the regular quash swatches. And you see that even the diluted paint is about to reactivate with water, but not for the acrylic wash. Now let's do another swatch with regular acrylic. You can essentially play it the same way, although to me it looks a little bit more transparent and doesn't feel as creamy. But she can also spread it with water and do nice light washes and just like watercolors. And once it's dry, this does not reactivate at all. It's totally waterproof and it has a shiny, especially when you apply a load of paint. Wash and the acrylic wash dry with a matte finish. Now let's see how we can apply the wash with different dilutions and what effects you'll get. So with the first wash, you use a lot of water, can dilute it so that you can make it look like watercolor. So there's only a little bit of pigments and a lot of water, and it's basically colored water. For the second wash. We are a bit more water in. We tried to give it more of a milk consistency. So it's still pretty liquid, but more opaque. You can't really see the white of the palate through it. So you see that on the paper It's a lot darker. The third wash will have to consistency of heavy cream. So you add more paint to your wash and you can actually push it on the palate and see the white underneath, but it's thick enough that you can push it around. The very last wash is the paint right out of the tube with no water in it. And it's yet a little darker. But you brush load Mongo as far because you brush will dry out much faster and you'll have some dry brush effects. And now it's time to practice our gradients for our final project. But first, we're going to put some washi tape or painter's tape on the paper to create a few rectangles where we'll paint are several gradients. What I like to do with the tape. To make sure it's not too sticky, enters the paper once you remove it is to either ticket to my clothes and remove it so that it removes a little bit of the toughness. But I do have cats and whenever I do that, I often have some cat hairs stuck to it and I don't like it. So instead I stick it to the inside of my hand and if the tape is long enough, it might go up my arm as well. I found that this technique works pretty well. I'm going to use the same colors I'll be using for the painting. So for the first gradient, I'll use some strong orange zone, brilliant and mixing white. You don't have those colors. Remember that you can use your own mix like we did in the previous lesson. So the first wash will be pretty thick. It'll be just like the heavy cream. I know it doesn't look much like here with this paint. That's because for some reason this particular color is very grainy. It's from a special set. I'm not sure where they make it with, but it's pretty grainy. But anyway, if you using regular guage tried to make this wash with a heavy cream dilution. The goal for this first landscape is to basically do something quick and easy. So we're not going to do too many layers and we're not going to start with a very diluted layer. We're going to go straight with a pretty thick layer of gouache. So you're gonna work up the paper. I didn't lighter and lighter colors. So first you start with your darker orange, then you'll add a little bit of the lighter orange to the darker orange, then you'll do the lighter orange by itself. Then the lighter orange mix with the white. Before the paint dries. You can go back and forth with your brush to blend in-between colors so that you have a nice and smooth gradient. If you took too long in the paint starts to dry, That's okay because you can paint over it. You new layer will not blend with the colors underneath because it's acrylic wash. At the end of this video, we'll do another gradient with regular gouache brush, and I'll show you how to deal with that. So you just work back and forth up and down until you have the colors that you want. I wanted the bottom to be nice and bright orange and the top to be a lot lighter. So I'm happy with it now and I'll go to the next wash. So now we're going to work on the next two gradients and they're not skies. There will be two of the mountain ranges, some using an ultramarine blue, but you'll see that on the reference photo it's not bright blue and the landscape is pretty hazy. So I'm mixing that John Brilliant with the ultramarine blue to make it look more easy. The first blue gradient, I realized that I made my blue to dark. So it'll be for the middle ground 19 and the bottom gradient will be for the background Mountain, which is supposed to be lighter. The further away from you an object is, the lighter it is. So I work back and forth, top gradient and bottom gradient, I admit the blue bit darker for the top gradient. And the bottom part of the gradient needs to be a lot lighter and more orange because of the missed on the reference photo. So just like with the very first gradient we did with the oranges, I work up and down back and forth until I'm happy with the colors that I've got. There's two gradients might look muddy for now, but that's kind of what it looks like while it's drying because some parts of it are drying, some are still wet. So it doesn't look even but it doesn't worry me because I know there's a color shift when the paint dries, usually the dark colors and the being lighter and the lighter colors and being a bit darker. Once I'm happy, I let it dry and I'm going to show you the shift of colors. Now that my swatches or try, I'm going to re-wet my Winsor and Newton gouache and paint a swatch next to the dry swatch. And just like with watercolors, you'll see that while the paint is wet, it's nice and vibrant and shiny. And once it dries and the water has evaporated, the wash is Matt and intensity and their shade of the color has shifted a little bit. You also saw that I was able to re-wet that wash very easily in the palette. Now, let's see what the acrylic wash does. It obviously doesn't read very well. And you can see that there are a lot of solid little pieces coming off. It's just basically the same as acrylic. Acrylic will do the same. No matter our gradients are nice and dry. Let's remove the tape. Just be careful so that you don't tear your paper. If you want, you can use a hairdryer to warm up your tape and make it easier to remove without damaging your paper. So like I said, the top wash is the sky, the middle one is the middle ground mountains, and the bottom one is the background mountains. I think that turned out pretty nicely and they look hazy like they're supposed to, and the sky is nice and bright. Finally, we'll do another gradient, but this time using regular gouache rather than acrylic wash. And that do not have quite the same colors. So I'm using something slightly different. I'll be using cadmium yellow, orange, John Brilliant number two, which is a little darker than the one I use with acrylic wash. And the zinc white, which is very similar to a mixing white. I'm going to paint in the exact same order, making a nice heavy cream large with a darker orange. Then mixing it with the lighter orange for my second pass. And I'm blending it with the darker orange. And then I'm going later and later all the way up. So you could be blending each color with one another. But the nice thing with squash is that it doesn't dry as fast and again, it doesn't dry permanent. So what she can do to blend all those colors evenly. Is clean up your brush and with a damp brush, go over your gradient and even it out. And then you can adjust the colors as you wish. Quash colors tend to shift a lot more when they're dried. Acrylic wash. And so when I drive this gradient, I realized that there was not a very big difference between the bottom and the top. So now that the paint is nice and dry, I decided to add another layer if I'm careful and don't blend too much, it's not going to re-wet the bottom layer very much. But since I'm working on a gradient, I won't mind. And it might actually be to my advantage that it really wet so that I have a nice and smooth transition between all the colors. So I added a lighter color on the top. And before I added more orange, I decided to blend my lighter color with the first layer underneath, so I clean my brush and with a damp brush, I lightly reactivate the paint underneath. This is a technique that works very well. Once I was satisfied with this gradient, I dried it with a hairdryer again to see what the final clothes would be. And I already liked it much better, but I decided to try and add a third layer to it and have a nice contrast between the top and the bottom of the gradient. So basically we applied the same colors in the same places. My goal right now is to have the top of the sky a lot lighter. And this can be tricky because it most likely will blend a little bit with the orange underneath when you use acrylic wash and your first layer is all dry, then whatever you add on top of it, well, not blend with what's underneath. Once I was happy with all the colors, I tried to paint again, and this time I really liked it. So since the paint was dry, I remove the tape and I was really happy with the result. Now with regular gouache, you have to be careful because the paint that's on the tape might flake off as you remove it. Make sure that you don't run your painting by squishing it on your paper while you remove your tape. Try to brush it off at the same time so that you keep a nice and clean paper. All right, so now it's time to practice your gradients. Feel free to practice with all different colors. Anything you like. The more you practice, the more comfortable you will be, and the smoother your gradients will be. And once you're done, you're ready to start working on your project. 4. Sketch: For the line drawing, it can either trace the picture or you can try to sketch it straight on your paper. This picture is pretty simple and you get a keep in mind that you don't need to be perfect. You don't need to have all the lines exactly where they are. It's just a landscape. You only have to give the impression of mountains and a horizon line for the water. So it's pretty simple. Now if you want to try to make it as close as possible, It's fairly easy. And the way I usually do it is by trying to measure roughly where some lines are located compared to the middle of the page, or three-quarters of a page, either horizontally or vertically. Sometimes I'll make little marks on the sides to tell me where half of the page is or a quarter of the pages. I started with the mountain in the middle ground because it's slightly over half of the page. So if you draw an invisible line horizontally halfway down the page, the left of the middle ground mountains starts right above that line. It's lens down towards the right with a little bump. And if you draw an invisible line vertically halfway through the page, you'll see that that bump slightly to the right of that middle and then it goes down and on the right side of the paper it ends up being slightly under the middle line. The line between the water and the mountain in the foreground is about a quarter of the way up. And this is not quite straight because you'll see that almost halfway through is a literal indent. It goes up and then it goes straight across. So that's those little details that you can keep an eye on to try sketches more accurate. On the left side, the foreground mountain starts almost halfway between the waterline and the middle ground mountain. It's slightly under the halfway mark, but there's something that I need to keep in mind is that my format is not quite the same as the format of the photo, so I need to modify it a little bit and you can do it too if you need to make it fit within your own format. So I follow the line of went down a bit down the mountain and did the tree line. You can see it so tree-lined because it's not a smooth line. It has some little peaks here and there, and then it goes up a little bit on the right side. And then finally the background now 10, again emitted start a little bit higher on my page 10 on the reference photo, just because the format of my drawing is a little bit different, that line is a little bit more complicated because this mountain has a lot of peaks. But if you draw an imaginary line going through the top of the tallest peak, then you can kind of compare all the peaks with each other so that you know, more or less where they go if they're taller or if they look lower on the page. And you can also compare it with the other mountains you've already drawn, especially the middle ground mountain. So for this sketch, you basically needed to draw three lines. Again, they don't have to be perfect. They don't have to be absolutely accurate, in fact, to campaign them whichever way you like. You can make your own landscape based on this reference photo. 5. Sky: Tamara, a few sketches, a little messy. You can erase the extra lines if you want to put gouache is opaque and you will not see the lines underneath. For the sky, I'm only using three colors, the strong orange, the Rhoden brilliant, and the mixing white. For my first layer, I'm mixing the two oranges together because I do not want my darkest dark to be too dark. And also so that I get a nice even wash. I'm mixing those colors with a palette knife rather than a brush because I don't want the color to be streaky, to have a color residues on my brush. I could very well clean the brush once I'm done doing my mixes, but it would be wasting my paint. So I'm using a palette knife instead. I'm also making another mix of the John Brilliant and the mixing white to make a paler orange for the top part of the sky. So I'm using my darker mix for the bottom part of the sky where it's a darker orange. And I don't really pay too much attention to the line. It's okay if I go over it, because since squashes opaque and can always back on top of it when I paint the peaks of the mountains. So right away my mixes are pretty thick already and I tried to keep some water on my brush, but not too much. Once that darker orange is applied, then I go with the plane, John, Brilliant. I don't want it to be too light, so I just go with the color right out of the tube. And I tried to spread it very nicely and blend it with the bottom layer. And then for the third half of the sky, that top part, That's fun. I'm using the mixture with the white because it's a lot lighter. So again, I tried to use enough water so that the paint spreads nicely, but not too much because I'm trying to keep it nice and opaque and I keep undoing, does back-and-forth strokes to make sure that everything's blended smoothly. Once that lighter wash is applied, I used a medium color again to make sure that the transition is nice and smooth. And then the darker color again to, again blend to have another smooth transition. And they go back and forth between those three colors to make sure that I have a very smooth sky. Also notice that there are a few darker streaks in the sky, maybe some clouds far away in the background. So I decide to add those, but it's really up to you. You can just have a smooth gradation or at those clouds. 6. Water: I'm going to let the paint for the sky dry on its own. And in the meantime, I'm going to use the exact same colors for the water, except that it looks a bit lighter than the sky. So I'm going to add more white to the mixtures. It also looks a little bit more yellow, but I did not want to add too many colours to our palette. So we're going to keep the mixes already have and just add white. Now when you're blocking the water, it doesn't matter if you mix is not a 100 percent well-mixed. You can see that there are some darker lines and lighter lines that shows the little waves to little caps on the water. So if your paint is not mixed properly, as long as you go back and forth horizontally, it will already start giving the impression of ways because you have your white paint in your orange paint, not mixed entirely. Again, I want an opaque layer so I'm not adding very much water just enough to spread the paint. If for some reason you think you paint to dry on your paper, you haven't added enough water on your brush. You can always dip your paintbrush in water just a little bit and smooth out your wash. It'll blend the paint together. Now once you're happy with your wash, it's time to work more on those waves. And it's a very simple process. Just add a darker mix of your orange on your brush and just make some little uneven lines on your wash. Tried to have some that are a bit darker and some that are a bit lighter, but don't go overboard, don't add too many. 7. Backgound Mountains: Before I continued with my painting, it makes sure that the sky was drive because some of the paint will stick out and to disguise when I reshaped my mountain. And I wanted to make sure that the paint was dry so that it wouldn't mix together with the sky. You can speed up the process with a hairdryer if you want to. I decided to just take a break and go do something else instead. But when I came back, my paint was drawing on my palette. And when I tried to mix it together, I realized it was just not fresh at all and I had little pieces coming off the palette. So I decided to take some new paint from the tube. We're using regular gouache. This wouldn't happen because I could have added a little bit of water. It would have reactivated the paint and I could have kept on going with the paint that was dry. This is not the case for the acrylic gouache. Once it's dry, you cannot reuse it at all, just like regular acrylic paint. So when you look at those three ranges of mountains, you can see that they're basically the same blue, but different shades, meaning that I use the same color and ultramarine blue for all three of them, but I added more or less of the orange to it so that I could have a nice gradient. Again, my goal is to keep a small palette of colors are in harmony. And again, I use the lesion brilliant that I mix with my ultramarine blue. And I put quite a lot of orange this time because it's the mountains all the way in the background. So they're not as visible, not as defined as the ones in the foreground. Or you can actually see the color is much better. It looks like the weather is pretty hazy, so we'll have to take that into consideration. So the way I see it is the top of the mountains are a little bit darker than the bottom part that's hiding behind the middle ground mountains. So we'll, we'll have to do another gradients right there. So I'm applying my first mix to the whole strip of mountain in the background. And I'm trying to redefine my peaks while observing the reference photo. Again, I'm not trying to make it perfect. Everybody can see it's a mountain range, so it's okay. And I know that every time I'm going to add more paint to it and probably going to slightly modify the shape of those mountains, but I'm not too concerned about it. Mixed with more orange. And I focus on the lower part of those mountains. So like with this guy, I'm going to go back and forth with that top half and the bottom half, I didn't either some mix with more blue or some of the mixed with more orange and trying to blend it nicely to make a nice quotation. Okay? At some point I used some pure orange for the bottom just to make sure that it stands out more than with the mix. Because as we've already talked about, sometimes there is a shifting colors. Once the paint dries and I wanted to make sure that the bottom part of those mountains or significantly lighter than the top part. So keep on playing back and forth with the paint until you're satisfied with the gradient. And do keep in mind that it's going to dry a little bit lighter. 8. Middle Ground Mountains: This side, I use a hairdryer to dry the previous layer because I know it's going to have to paint over the bottom part of it. And I wanted to make sure that it was entirely dry. And then I used basically the same color again as for the background mountains, except that I used less orange in my mix. Those mountains are little bit bluer. They are a little bit darker because they're closer to us. There's slightly more refined. Painted the top half with the Bluemix and then the bottom half, but the same mix with a little bit of orange in it worked back and forth, but the darker blue and orange blue to try and blend them together to have a nice gradient. Hi. Sometimes when you use acrylic wash since it dries pretty fast, if you use a thicker layer with enough fodder, it's not going to dry as fast and you'll be able to blend those two colors together a bit easier. All right. 9. Foreground Mountains: And now it's time for the foreground mountains. This is the easiest layer of all because it's nice and smooth. There is no gradient at all. So I'm not going to lighten my blue. I actually need to darken it. It's a blue dots darker than an ultramarine blue. And I'm not going to add some black to it because it's going to flatten the color a little bit. Instead, I decided to add some burnt umber, and I also added a tiny bit of orange just to unify all those three ranges of mountains. Okay. I'm redefining again the shape of this mountain range and adding a nice and opaque layer of the Pete. I used brown brush to add details with the trees. Just little peaks of sticking out just enough to give an impression. Hello. And now must say I had a hard time making a straight line with the paint on the left part of those mountains. If I was not recording a video, would have moved my paper and paint it vertically. So then I would have had a much better straight line. And so feel free to do that if you want to play, you can seal. So they're the literal indent that I mentioned to you when we were sketching and make sure that I show it, I made it a little bit more pronounced and on the reference photo, but it doesn't matter. It's my painting. It's okay if I don't make it exactly the same way as on the photo. And now you see that within that indent on the water, there is a shadow. It's a lighter blue, almost like the mountains in the background. So I use a mix of blue and orange again, to paint that shadow on the water. You could very well skip that shadow if you wanted to. It's up to you. I decided to paint it just to show you. And now also notice that when the water was try the lines that I had painted for the waves kind of lighten up a bit. So I touched it up again with some Pete. All right. 10. Final Thoughts: So that's it. We're done with our first landscape class. It's time to remove the tape around the painting. If your tape is not very tacky, can carefully remove it. But if you're afraid to damage the paper around your painting, a great way to avoid doing it is to use a hairdryer. So you can either apply the heat as you're removing the tape, or you can apply the heat first for each piece of tape, then remove it, then apply the heat again on the second piece of tape, remove it, et cetera, until you're done. And now you have nice and crisp edges around your landscape. So I hope you've enjoyed learning about goulash and the difference with the acrylic wash. Both mediums are a lot of fun and I really like both of them equally. If you have any troubles with anything, please let me know and ask any questions you want. I'm here to help you. And don't hesitate to share your practice gradients in your final project with the class. Thank you very much for joining me today. I'll see you soon with another easy landscape painting class. Bye bye.