Experience Watercolours Made it to the Top! | Melinda Wilde | Skillshare

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Experience Watercolours Made it to the Top!

teacher avatar Melinda Wilde, master teacher of watercolours

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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

7 Lessons (49m)
    • 1. Intoduction and Supplies

    • 2. Transfer and Mask

    • 3. Sky and Clouds

    • 4. Layer Your Hills

    • 5. Foreground and Shadows

    • 6. Trees

    • 7. Detail Cyclist and Thank You

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About This Class

We will paint a lovely B.C. landscape with a view from the top! This includes cumulus clouds, layers of hills, a rich fun foreground and if you like, a cyclist with long shadows.  There are many layers and TONS of techniques in this class.


Meet Your Teacher

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Melinda Wilde

master teacher of watercolours


Teaching Youtube https://www.youtube.com/channel/UCkRR5TW5Zy8zMz9BwiZ-E1g


FB: /MelindaWildeExperienceWatercolours


Hello, I'm Melinda. I've been in love with watercolours for 35 years. I've been teaching for over 30 and love watching my students when they realize yes, they can create in this marvelous medium. I live on Gabriola Island, Canada and love the God given beauty and inspiration this place provides. Pursuing my art was the perfect thing to do while co-raising 5 children who are now grown and gone. Teaching is my main mandate these days and I hope you'll join my first class and look forward to the many more to come!

Gabriola is a real gumboot community so I couldn't resist painting all ou... See full profile

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1. Intoduction and Supplies: So here's our project for the day. We've got a lovely sky wash. We're going to do some cumulus clouds, layers and layers of landscape. Some lovely trees noticed the complimentary orange versus blue in here to bring the foreground freight forward at us. And don't be intimidated by this guy on the bike. You can put him in or not whatever you decide. But I'm gonna provide you with a transfer so that you'll find him easy to draw out and we'll talk. How did about how to detail him toward the end of the project. So let's talk about supplies and get started. All right, let's talk about supplies. I'm gonna use £140 cold pressed arches. Watercolor paper. I'm gonna mounted on a board with masking tape all around the edges, and then we'll need some transfer paper for story. Graphite paper. Don't get transfer paper. It leaves a little oily mark on your page. Look for graphite paper. If you don't have that handy and all that's forest for transferring our little cyclist on here. If you don't have transfer paper or graphite paper, you can use a soft pencil and irregular HB pencil, and I will talk to you about that a little bit later as we progress through the probe through the lessons and I've got a one inch flat and a little round that points quite nicely. I was going to show you my mucky palette to talk about colors, but I decided it might be better just to point things out. I used a civilian in the sky, and then we're going to use a little bit of toilet paper. Yep, believe it or not. And then I used a COBOL for the hills. And then, as it came forward in the landscape, I added kind of a warmer yellow raw sienna, or any warm yellow that you might have certificates warmer as it comes forward in the landscape. The foreground. You could put whatever you want in here, but I decided to be bold, and I used a yellow and some permanent rose and some orange just for fun. Then we take ultra marine toe. Add in the shadows are trees are a combination of oppression and burnt sienna and our intrepid cyclists. While you can dress him however you want yeah, make him the same is some outfit you might be wearing or someone you know love, and I think that's about it. So let's get to transferring his image onto our page. 2. Transfer and Mask: I wanted to mention one thing very quickly about paper, as I mentioned earlier. I like the £140 are just cold press. It's just one of my favorites, but it does have this logo in the corner. Now that bothers you. You can just flip it over, which is what I'm going to dio and paint on the other side. And it shows hardly at all. If you do that, that's the beauty of good quality paper you can paint on both sides. Having said that, the logo it doesn't really matter if it shows. It just shows your purchaser that you have painted on the world's finest watercolor paper. Okay, let's get to transferring. So the first thing we need to decide is where we're gonna place are cyclists. As I mentioned before, I'm going to provide you with a little transfer like this. You can download off the project section, so it will be very easy for you to draw, Should you decide to put him in? Um, where? Place him. Well, let's look back at our original piece here, so I know I'm gonna want to draw this little edge right in here. So you could just lay it on top of your paper. Little mark there, a little mark there and then we'll just draw that in. It doesn't matter if it's exactly the same as mine. The one thing you just want to be careful about is that you don't have a great big lump right in the middle of your painting. Maybe make that high spot just slightly to the left. Thea. Other thing I'll just mention now is I'm not going to draw in these horizon lines here. I feel like it puts you in a bit of a box and three, only thing you need to worry about when you're doing them, you don't need to make them exactly like this piece. The only thing you want to worry about is that they're not all the same distance apart and that they don't follow each other exactly along. So I feel personally, I prefer not to draw those lines. If you do like to draw those lines, you run the risk of having the pencil line show later, which is here nor there. Some people say pencil lines are a noble part of your painting. I kind of agree However, for my personal preference, I prefer not to see them on these horizon lines, so I'm not going to draw them. But feel free to draw in these edges. If you feel it makes you more comfortable. Whatever makes the whole piece seem less intimidating to you is important for you to do. Okay, So here's our little man. I think we'll place him, you know, somewhere about there so you can transfer, download him, print him out, and then just plunked him on your page, put a little masking tape on him. And then, as mentioned earlier, we'll use, um, transfer paper story, graphite paper, and we'll just slide it underneath, and we will draw him out. In that way, he will transfer onto a page. The other option, if you don't have transfer paper, is to take a soft pencil and graphite the back. And if you get that on there nice and thick, then you can turn that over. And that will also transfer onto your page. So I'm gonna do that right now. I also wanted to mention the reason I tape it down here is so that while I'm transferring, I can lift it up and check and make sure that I got all the lines in without missing out any and without having to try and find the place where it was. So just that little meditate makes your life so much simpler. Okay, let's go to mask. So I feel obligated to reiterate a lot of stuff I've said in my other videos about masking fluid. In case you haven't watched them, it will wreck your clothes and your brushes, so you must so pure brushes first. So work wet your brush. Work in the soap right up into the feral of your brush. I'm just gonna make that a little more. I've got quite a fine brush for this masking job because it's a tiny little piece that we're working on, and we'll also use a toothpick and will use if you want a masking fluid pen. This is an item you can pick up at any art store, and it's not super expensive, and it's very handy for making fine lines with masking fluid. I think I'm gonna start with just my brush, though, for now, So I've just got a tiny double of masking fluid at the top of my page here. And then you just put it on your brush and away we go just painted onto our guy. So I actually moved to a slightly larger brush. I found that little tiny one just too tiny. So I'm just gonna do these a little spoke e things in here. Um, but I want to show you also how it's possible to use your masking pen if you have one or if you decide to purchase one, so you just dip it in, it fills up a little bit, and if you can see, you can make nice skinny lines with it. So if you're doing something fine, it's not a bad tool to have around. And one other thing I wanted to mention, uh, regarding the toothpick you can use it for tiny little lines to. So, for instance, here I don't want to drawing every single spoke. So I'm just gonna take my toothpick and just pull a little bit of that masking fluid around the edge. Here, you can even just dip your toothpick in, draw some very fine lines with that. It's almost finer than your masking fluid pen using a toothpick. So those are things to consider. Don't try to mask out every single spoke. You just want to leave a suggestion off them here and there. 3. Sky and Clouds: So one way to check that your masking fluid is dry. Just tap it. If it doesn't come up on your finger than you know, it's dry. If it does come up on your finger than you need to re mask that little spot. I know it's a lot of prep work getting ready for a painting, but honestly, I have never felt that it was not worth it. Preparing is, well, half the problem. Half the work, half the effort. So I'm just going to start by wedding my page down to just over our little guy's head. And I'm gonna pick up that cerulean blue that I talked about in the introduction and started off fairly deep up at the top. We'll just let it great eight down. Okay, yeah, we go down to nothingness, clean my brush, make it thirsty and just soften off the bottom a little bit here, all right. While that's guys damp, this is where the toilet paper comes in. Just grab yourself a role. I know it's in demand these days, but we'll just pretend it's not. Take a little bit like so, and you can just do this and you can lift out a few cumulus clouds. Just keep rolling it lifting. Maybe just a couple up here, watch the shapes. You want them to be, um, unique? Each one. Not all little, you know, polka dots across your sky. See, even here where these two are level. I'm not crazy about that. So I'm just gonna make this guy a bit longer. Here we go. They're all about half an inch. I don't want that. So I'm gonna make some of them a little bit thicker. Go. Don't like those two being parallel? So let's just change that up a bit, okay? And there's one more thing to do While this thing is damp. I'm going to take a little bit of ultra Marine and burnt Sienna, just kind of my go to gray color. It makes a lovely gray very thin on my brush, very dry. And I'm just going to suggest will be, then that's too much. Just going to suggest some shadows to those clouds on the underside. Notice I'm not using my brush this way. I'm kind of using that point and a little bit sideways. Here we go. The reason I like to do this when it's damp, it's OK. You can do when it's dry later, but I find when it's damp, it gives you a softer edge, and there's just less futzing around with it. Later. If you end up giving it too dark, grab your tissue again and you can just soften with your tissue. You feel like you don't like any of the shapes. You can just change them up a bit again. That's the beauty of doing it. Well, it's a bit damp. You like. These guys really want to go out of the picture? Here we go. All right, let's dry that get to the next step. 4. Layer Your Hills: so time for some mountains, the mountain peaks are original. They start almost halfway down the page, so don't feel you have to put them way up here in the sky will start them down. And the first layer it doesn't even go all the way across. So we're just gonna put a strip of Clearwater and then on the dry with the bottom of our brush into the water and the top on the drive, we're gonna were along here and create some hills. Okay, regarding color, I have mixed a little bit of cobalt with the blue that I used in the sky just to make it a little bit cooler. Now, if you don't have a cobalt, if you don't have civilian, that's not a problem. Maybe you're one of my life students, and only to have her the ground. Becker, turquoise and ultra marine turquoise would make this absolutely beautiful. No problem at all. And you can just add a touch of ultra Marine to it for those distant mountains. Okay, so the first thing I mixed my little puddle of color, I'm thinking about here where I want my hills still below where I want my hills. I'm just gonna put a strip of Clearwater, pick up my color very quickly and then just meander along, create what I think shape of hell should look like, and then I'm gonna clean my brush, make it thirsty on my rig. Just soften back along the bottom, picking up any excess. All right, we're going to drive that. So once you've dried it, it's a good idea to let you paper cool a bit. I use a blow dryer so it heats up the paper. If you try to paint on warm paper, it can dry a bit funny on you for the next layer. So, ideally, just let it cool a little bit before you paint on it, going to do the same thing. I'm gonna add a little bit more pigment to the mix so that it's a little bit deeper and just mix that up. Then I know that I want my layer to come somewhere around here, so I'm just gonna put that strip of water below that area, pick up the pigment, you have a go and then I'm going to me under my mountains along its ok for them to start and stop. They don't have to go one end to the other end of the paper. You can start from anywhere in here, but what I'm gonna be conscious of is not following the original line. Okay, So I'm gonna meander along in here and then just have that kind of disappear over there, clean my brush, make it thirsty on my rag and again just meander along the bottom here a little more thirst and picking up any excess so you could make a nice little segment of hills. We'll put another segment coming over the top of it, but you don't have to go one side to the other. One thing I will notice, though I'm a little bit even here. So I'm just gonna drag this guy a little further along we go and again, clean brush, making it thirsty on my rig and picking up to keep a soft edge. We want soft bottoms all the time because it doesn't paint us into a corner. So we're gonna put layers and layers of hills. I mean, you get the idea you can put as many or as few as you want as we come forward in the landscape, though we want to add a little bit of warmth to the color because as things come forward in the landscape, they warmer colors begin begin to show. So I'm gonna take a little bit of my warm yellow, which mine happens to began bows. Just add a tiny bit of that to my mixture. It's still pretty blue, but it just has a little more warmth to it. And then I'm gonna suggest another layer of hills rating here. But now I don't want thes blues to run into my foreground. So I'm Onley going toe wet down to the foreground here, not beyond. And then I'll pick up my color going to come right in from way up here. I think it needs to be a little darker than that. Let's see. Just meander right on over a little higher than that, and I think we have it just disappear. I don't want it to end in the same places that once will bring it a little further along. Okay, clean my brush, making thirsty on my rag and just soften the edges. You don't want to have any sharp lines down here because then we have to think of something to cover them up with. Okay, So keeping that clean, thirsty brush just softening along the bottom. Well, let's not have that I don't really like of this. Almost mirrors the shape of his head. So while this is Dan was gonna go in there, change that a little bit. There we go. All right, Next layer. So I think we'll just do a little shortly or write in here. So just a small strip of Clearwater picking up my color again and meandering it along. The thing is to do, adjust the color with each layer. Just gives it a little more interest. We'll come right across in front here cleaning my brush, making it thirsty and something. All right, Let's try that one. So now we're coming forward again. A little bit more. So I'm going to go a little bit greener yet. So let's see. Let's add a little more gambo sh to our mix that's a little too springy. So I'm gonna take a tiny bit of Turkle, a story burnt sienna. So I've got my burnt Sienna adding into that mix. There we go. Nice, distant greeny look. And here's something kind of fun you might decide to try. I'm gonna do my strip of Clearwater along here not going further down than my horizon. Gonna pick up the color and late in, see, How about we go this way? E think we need a little more pigment in that mix. Here we go, Mandarin. Along here sometimes it's fun. Well, it's damp to just take one or the other of the colors pure and just plop it in while it's a bit damp. That's a bit sharp. Will just take that down a bit with some clean, thirsty brush, but it makes it a little more interesting, I find here we go, always keeping an eye on what's above so that you don't mimic it exactly. Now, while that's damp, clean my brush off, make it really thirsty. Try it on the side. Just flick up a tiny bit. Now what this does is it starts to suggest that we're getting close enough in the landscape that we can see a few treetops. Hill was a bit bright. Just drop some of the greenback on top of it go. This whole thing wants to be a little darker, says me. So here we go. All right, One more layer to dry And then I think our last layer is next. So my next layer, my last layer again. I don't want it to go below this foreground area. Um, I realized now I need a little more depth behind him. So I think what we'll have it do is just meander along here and then reappear behind him a little bit and disappear into the distance. So I've mixed up my color. It's the same blue with a little more earth tone, A little more yellow added to it Not gonna worry about the clear water line, because now we're coming right up to the foreground. But what I am going to do, as I mentioned in the last step, is drop a little bit of each of the colors in individually just because I think it makes it more interesting. So I dropped a little yellow, drop a little cobalt in there, and then I'm going to do that thing I did with my dry, thirsty brush, pulling off a little bit here to suggest some treetops and pull straight up because they grew the's big ever brains they grew quite up and down, so pull straight up rather than trying to meander it from side to side. Okay, let's have this just reappear over here a little bit again. Just put a tiny bit of each color and individually, maybe have a go across to their and then again, my thirsty brush and pulling up. 5. Foreground and Shadows: All right, let's have some fun with this foreground. I'm going to Just had a batter. Put a little bit of the yellow that we've used. I'm going on to dry. Did not wet my paper first. Just grab a bit of that yellow. Let's take a little bit of maybe a bit of orange Now, in my other four grounds of my other videos we please on much thicker. But we're not worrying about doing that today. I want it fairly thin layer because we're not going to doing any carving with with an edge . We're gonna make our indentations in the rock by painting them in with some ultra Marine. Okay, so there we go with that video, a little bit of orange. I'm gonna grab Scarlet Lake, which is just a really nice read, just really middle of the road, read. I'm just letting the colors mix on the page, not worrying about mixing a puddle of anything, just letting them come together nicely on the page. There we go. Right up to this edge. Well, this is DAP. I'm just gonna add a tiny bit of burnt sienna. I think in there as well. Just here Yeah. Stand a little burnt sienna and perhaps some ultra Marine. You have violet. That'd be nice too. But, uh, I'm assuming we have limited palette. So I'm just gonna use ultramarine cause most people have that in their palate. Just doing what I call cozying in the corners. Find it makes the foreground come forward at you if you have a little bit of depth and the corners Plus it focuses the I'm or to the center of interest. So a little bit of ultra Marine as well. There we go. All right, let's dried and we'll put in some cracks. So now we'll put in some cracks and crevices, which I'm going to use ultimately for on and a little bit of burnt sienna mixed in mostly to the blue side, but just a little less sharp than straight Ultra Marie. And let's just use airbrush flat and quite dry, and we'll just stumble on. This is this is stumbling when you use your brush flat. He was put on a few cracks and crevices and and then I will take my brush using the tip of it and just put in a few more, more direct lines nice. If these lines kind of converged toward our cyclist, Not not super. Obviously we don't want it like spokes, but just gives it a good feeling of drawing your eye into the center of the painting. A little more scum, Billy stuff now zoomed in on this a little bit because I think it's a little bit of a scary part in this to do. Um, it's the painting off of this shadow here of our bicyclist. So to make yourself more comfortable, I suggest you draw in a rough line of where you're gonna put that shadow. The shadow must connect to the item casting it, so keep that in mind. But it doesn't have to be a perfect rendition of the fellow because it's elongated because the light from behind. So if we just get an approximation and let's have a go right off the page and maybe it's handlebars here, this arm and I think you'll find if you just get an approximation, it'll do the trick. So another thing to consider is that as the shadow gets farther away from the item casting it, the shadow gets fuzzier. So what I'm gonna do is just take a little bit of moisture and lay it down here toward the end of our shadow. And then I'm taking my ultra Marine again with a tiny bit of burnt CNN and just take the sharpness off of it. And away we go. Let's just be brave. Start right in here, connecting to the wheel, connecting to his foot, connecting toe. Let's just start to get a bit braver down here. Might move into my large brush. No, I'm just going to take clean, thirsty brush. Just pat these a little to soften. I didn't want that. What that does is it gives it a little more of an impressionistic look a swell me. 6. Trees: So one more thing before we take our mask off, we want to create a few closer trees. So here's a little trick for that. If you want, you don't sure where to put. Um, you can just cut out little bits of paper like so, and you can start arranging them hopes on your page, and then you have the option of moving them around, deciding where you want them. Exactly how told. Do you want them? How short do you want them? Maybe we want a little guy here, so let's just see, maybe one later. Mm. It could be nice to have some behind him, but you don't want to make it exactly behind him like it's growing out of his head. So let's maybe try one there. A shorter one. Perhaps there it could stop there. Or we could decide to go at a couple of bigger ones. There, maybe one big one on one tiny one. Recommend odd number. Anyway, you can slide them around, move them where you want them when you've decided. Just put a little pencil marks, little pencil mark, and then we'll know exactly where the painter trees. Let's just have a small word about trees Before we get started. I like to rest my wrist either on the page or in my fist, like so on the page in my fist, and then just use the trajectory of the stroke to create a nice point. You just have to push your brush up and it will come to a nice point. And then, from there, just using your brush perpendicular and kind of blogging from side to side. I really don't want to think about every little pine needle. It's okay to make a few branches if you decide, and then fill the man a bit. But bear in mind that your tree has branches going out, each beside plus coming toward you So you don't wanna have your tree with just branches filled in from side to side. Like so you want to have a bunch of stuff in the center, too, because some of those branches air coming right towards you and keeping the branches random distances apart is always good, because there's the odd, perfect tree of their, but mostly they're just really Raggi and random and beautiful in their own right. But you don't need to worry about making each branch exactly half an inch apart it or whatever. OK, so I recommend you practice a couple of those on a blank sheet of paper, and then we'll move on to doing them on our painting. So I've mixed up a little puddle of burnt sienna oppression blue with a touch of my yellow in there and I'm going to start my trees and I'm gonna work on this little guy on the left . First, Just bring him down to the edge of the cliff because he's only other side of these stones and then using my brush brush perpendicular, I am going to just create little blobs from side to side. You don't have to think every branch, every twig, every pine needle or whatever these are Make it kind of random. Remember guys still masked so we can paint right on top of him? It might look nice if this one is a little bit thicker. Bushier, I should say this tree. So we get some nice darks behind our bicycle, man. 7. Detail Cyclist and Thank You: so our trees have dried now. So let's take off our masking fluid. I'm just going to use a masking fluid remover. You can use an eraser if you like these air just so much easier because the masking fluid sticks to them and it just comes off in a flash. This is where we get to see how great I'm asking. Flew a job. We did, and sometimes it's a bit of a disappointment, but we can go back in and fix any wonky edges that might show up. All right, let's detail our man just looking at that thinking I got that front arm in the wrong place , so I'm gonna take my nice soft a racer. This is actually the back arm coming out resting on the handle bar on the front arm. It's just here kind of relaxing on his leg. So any little mistakes you make, you can just erase them off and feel the man with your pencil before we start detail ing him because we want to make sure we got everything right before we go to paint. So a couple things I want to mention before we get to paint our man this is on the original prototype. It's good to leave a little slip of white against certain areas to suggest light. Um, and you don't want to be too worried about painting absolutely every detail. So, for instance, here I've not painted in every single spoke were just suggesting this stuff. As long as our figure looks reasonable, he looks relaxed sitting on his bike, and the shadow looks pretty good. Then you don't need to worry too much about making you know every little crease, every little wrinkle. Let's just get some color on him and a little bit of shading. So first thing we'll do is decide on what color were going to make his outfit. So I'm going to do is pants, I think ultra Marine just because. And I'm thinking the lightest coming this way. So I'm going to put the ultra Marine starting it on the back side of his pants. Here, there's his jacket. Fill it in right up to his arm. But when I get to this front knee part, I'm just gonna leave a little bit of white and then I'm going to see maybe he's got some sort of protection on his shins there, So I'm just gonna leave that light for now. But let's paint the other leg, which has to go around his arm. So we'll paint around his arm. There we go. And it also tucks in behind the bicycle. Now, if you accidentally painted on top of the bicycle, don't worry, because we'll paint the bicycle dark and we can paint it over talk of his leg. But ideally, we're just gonna leave that bicycle wire right there. You. So he's got one leg in front, one like pined. I feel like that could come in here a little bit. Okay, let's think about getting his jacket on. So I think I want his jacket to be grit. I like a little spot of red in a painting, so I'm going to just again starting on the back side that's away from the light. Put pure red paint up to his arm. Gonna watch this because my blues still a bit damp, so ideally, you would dry in between there. Then let's paint the front of this Read Jack every go leave a little slip of light. Just time you little slip a light along there. Now I'm thinking that arms maybe will make them a different color. Let's make them, uh, with just read cuffs. How about stand so red? Cuff free? And I don't know what this is. It's his caller, some sort of fancy bikers caller. So I'm just gonna put a few stripes in there again, not filling the whole thing. And completely, it has more life if you leave little bits of light. Well, I've got the red on my brush. I think I'll do a little red straight on his helmet. No, maybe to straits Why? No, we kill. And I not hurt to have a little rid striping on his shoes as well. Okay, so I think so. Make a little stripe on his arm as well. Here. A couple strips and his backpack. I was going to make it black, but I think in order to make it stand out a little bit better against these green trees, let's make it kind of a yellow color instead, again leaving little slip a light on the top There. Here we go. Now let's talk about shading on top of all those local colors. So I'm just going to use ultra Marine as my shading color. And I'm just gonna place a little bit of it sort of along his backside of his arm here fairly soft. Because if it's weight that jacket, then there's just gonna be a little bit of shading on his arm, like so on. Same up here. Little bit of shading, but a little too dark. You want to have your brush Not super wet, because you don't want it to be picking up all the color you've laid down just enough to add a little bit of shadow here and there. Same here on the back of his Jack and I think a little bit of shading. Maybe under here, A bit of shadow, Bottom of his backpack, Well shading. See where else. Oh, yes, this chunk down here on his calf, it's gonna require a little bit of shading on the back. Could clean my brush, make it thirsty. Just soften that off. Go pick up a little more. Let's work on this, she boot. Whatever it is that he's wearing will make the bottom of it quite dark. And then again cleaning my brush, making it thirsty and just softening. You hear a little bit, okay? And his helmet, which is white. I'm thinking to myself, you could make yours whatever color you like. I'm gonna make it white. So? So his helmet, As I was saying before my camera glitch doubt on me, it's I'm gonna make it white. And I'm just putting a little ultra marine down on the edge here, leaving a little slip of light. When it comes to his face, I'm gonna assume he was wearing goggles, cause most these guys do so I'm just putting a little suggestion of shadow under where the goggles might be. And this is either a mask he's wearing. Or perhaps he's bearded, but I'm just putting a little shading on the underside of this. Um, the point being, you don't want to paint his eyes, his nose, his mouth and all those little details right down to the eyelashes. You just want to give a suggestion of a human being on the bicycle, so we'll just leave it at that. I think so. I'm going to paint his bicycle black kind of in honor of a bicycle present that was just given to me. That's a beautiful, silky black. And there we go, I'm gonna put dark line on the underside of the handlebar again, leaving that slip of light along the top and let's come down here. And there's another one of those down here, another side around the tire. We got a dark fender, but again leaving that little slip of light here and there we get to the wheels. I am not gonna try and paint all the little silver bits. A little spokes just going to suggest tires, leaving a little bit of light here and there again suggesting the tires. It's a beautiful, bright day, so they'll be a lot of shimmering off his bicycle. If you're any of your spokes ended up being a little tooth thick, you can just thin them out now with a little tiny bit of dark. I museum Payne's gray, but you can mix ultra Marine and burnt. Seattle makes a lovely block. Okay, let's just carry right on. I'm not really super familiar with bikes, so not worried. If it's perfectly correct, I just as I say before one elite give a suggestion, leaving those lights again on the last tire, it will make that dark right up beside his leg dark along the bottom here because the light wouldn't be catching it dark along the backside. And we'll leave some highlights along the top of the wheel, and we mustn't forget he's got gloves on. So we'll just make those black and school here make his hand relaxed with the end of his sleeve. So I think we've completed enough details on there, and what we'll do now is let's zoom out. What's I see One little thing. We forgot the seat on his bicycle. Just gonna make that dark because it's in behind there. And if there's any areas, for instance, right here, there's a little lights patch there that I don't really want to be white. I'm gonna take the background color and just filled it in. So a little bit of the green for my tree just come around there. There we go. Same there, on the top of his seat by masking job wasn't exactly perfect, but I think we'll zoom out now and see how he looks in the whole scheme of things. So there's our cyclist, finally made it to the top of the hill on his black bike, painted dark in honor of the beautiful gift I received from my friends and family for my 60th birthday. Thanks for joining me for this class. You enjoyed it. Love to see your work project section be safe. Be well. Hope to see you again.