Intro to Watercolor Sunsets - a Step by Step guide to Painting Light | Ashley Prejoles | Skillshare

Intro to Watercolor Sunsets - a Step by Step guide to Painting Light

Ashley Prejoles, Artist

Intro to Watercolor Sunsets - a Step by Step guide to Painting Light

Ashley Prejoles, Artist

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10 Lessons (45m)
    • 1. Introduction

    • 2. Supplies

    • 3. Prepping your Paints

    • 4. How do we paint Light

    • 5. Practicing the Gradient

    • 6. Practicing the Clouds

    • 7. Painting the Sky

    • 8. Practicing the Palms

    • 9. Painting the Palms

    • 10. Final Thoughts

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About This Class

Ever wanted to paint glowing skies in watercolor? This class is all about painting light as we explore some of the basic skills needed to paint luscious backgrounds for our landscapes!

I’ll walk you through this simple palm tree sunset designed to be a beginner level introduction to the soft, fuzzy backgrounds that can make watercolor paintings so dreamy and bright. This class was designed with minimal supplies so you can begin painting with what you may already have at home. I can’t wait to paint with you, so grab your paints and brushes and let’s get started!

Meet Your Teacher

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Ashley Prejoles



Hi! I'm Ashley Prejoles, a full-time painter and instructor. My art is about a making tangible connection with the planet and each other: to feel the magic of the things and places around us, bringing wonder, calm or thrill to our spirits.

Nothing brings me more joy than sharing my art and techniques with other people! Watercolor has wiggled its way into my heart as my favorite medium because of it's fuzzy, splashy effects and I am thrilled to share with you what I've learned along the way. 

You'll find my art at and on Instagram at If you share a piece made with one of my classes, be sure to tag me and use #paintwithashley, so I can follow your journey as well.

Let's paint to... See full profile

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1. Introduction: Hi. My name is Ashley Per Hollis, and I'm an artist and instructor. What color is my favorite medium to work with? Because of all the dreamy splashing effects you can achieve, My favorite thing to paint and watercolor is light filled skies. And today I'm going to give you an introduction in the painting your own lit up landscapes . This project is for beginners and longtime painters alike, so grab your paints and brushes and less pain together. 2. Supplies: talk about what supplies you'll need for today's class. So this class was designed to be on simple side and that includes the materials were using . I didn't want you to feel like you had to go out and buy a lot of things. At the end of this section, I will be showing you what brains I'm using throughout the class. But do not feel compelled to go out and replace what you already have at home. If you already have some watercolor supplies, it's likely that they will work just fine for this class. Since we're doing watercolor, the first thing you will need is a couple of jars of water. One jar will be for clean water and the other will be for dirty water. So when you need to rinse your brush, just use the dirty water jar for that. The second thing you need is a couple of absorbent towels. It really doesn't matter if their paper cloth, as long as they can absorb water, we will be using them throughout the class to remove excess water and paint from our brushes. The third thing on our list is the most important item, and this is our paper. For this project, you will 100% cotton cold pressed watercolor paper. It's really important that you're working on 100% cotton paper because we will be using a lot of water today. Paper that is not cotton is made from a paper pulp, and that type of paper won't be able to withstand the large amount of water we're going to be using. If you're not sure if your paper is pulp or cotton, just take a look at the packaging. If your papers cutting it will definitely tell you, it'll say, somewhere on there, it's 100% cotton. If you don't say cotton written anywhere on the label than it is a pulp paper today, I will be working off of a five by seven inch cotton watercolor block. This means that the paper is attached to the pad on all four sides. Watercolor blocks could be helpful when we're working with a lot of water because it can keep the paper form or being and buckling. However, you definitely do not need to work on a watercolor block today. If you're painting on a single sheet of paper, then you will need a piece of mat board or would. That's larger than your paper in some masking tape. And before you begin your painting, go ahead and just tape down your paper on all four sides so that as you work, your paper doesn't reward. Don't remove your masking tape until your painting is done and has completely dried. Next up is our paints. You have a lot of flexibility with what kind of paint you can use as long as it's watercolor. You can work with paints from tubes or pans. It really doesn't matter. You're going to need three colors today. A yellow, a pink and a purple. Try to select colors that look good together so that your painting will have a harmonious feel to it when it's finished. Really, The only criteria for the paint is that you can mix it outside of its container because we won't be painting straight out of the tubes or the pans. We're gonna be mixing up our colors ahead of time. Which brings us to our next item to pre mixer paints. You will need a palette or a ceramic plate. I prefer pallets because they let me mix up larger quantities of my colors, but again, use what you have, and finally, you will need to brush is for this project we're going to be using to round watercolor brushes one large and one small. The small brush should be around a size one in the large brush should be around a size 12. Or, if you prefer quills, you can use one of those as well. I will actually be using my size for quill brush, which is comparable to a size 12 watercolor brush. Make sure you're using brushes that are soft and pliable and made for watercolors. And here is the list of all the different supplies I'm using in this class, as well as a list of everything I just mentioned. And again, I encourage you to use items you already have it home. The most important thing on this list is the paper. So if you're going to buy one thing for this project to make it that and that's it, next up, we're going to start mixing up our colors 3. Prepping your Paints: Let's talk about how we're going to prep are paints To get ready for this piece, I would like you to take your yellow, pink and purple and go ahead and mix it in a pallet. But if you have a ceramic plate, that'll work as well. Um, but you're not gonna wanna pull paint directly out of the tube or directly out of the pan because you're gonna want, ah, larger amount of each color and you're gonna want to make sure that you've got your paints art in premixed at the correct value for the peace were doing today my yellow and my pink are mixed up in a very light value. My purple for the sky is is still a light value, but it's a little bit darker. And then the purple for the silhouette is our darkest value. This really needs to be quite different from these three, so that it really stands out in pops on your piece 4. How do we paint Light: way Paint light. There are two main principles I want you to remember and follow whenever you paint any kind of light, whether it's a sunset or light reflecting off water, anything you're going to paint from light to dark and from warm to cool. So if you have the the area that's closest to your light source in this case, our son, that area is going to be the warmest, lightest part of your painting. The further away you get from your light source and the sun, the cooler and darker your colors will become, by contrast, of the darker colors. This is how we create that glow in that brightness. If your painting doesn't have, um, these darker, cooler values, it's difficult to make your painting feel lit up. Now you don't have to put a large portion of your painting in this brighter, lighter, warmer, um, color scheme. You actually could use very little warm and bright section of your paper to convey glow. What will convey that glow is the contrast, not the amount, So adding more yellow to your painting isn't necessarily gonna make your painting feel more glowy. Um, it just you will want to adjust that depending on your reference on what you're trying to convey today, we're gonna be doing Ah, well, beachy tropical sunset. So we're going to stick with some of these cooler colors like pink and purple. And, um, I omitted orange and blue just to keep it very simple for today so that we can really focus our energies on getting that went on white background the way we want it. Um, And just like with any other watercolor painting, you're gonna paint from light to dark. And what this means is that if you want lighter colors on your paper or if you want white on your paper, you're gonna use less pain or no pain today where we want the brightest part of our son to be. That part of the painting will be paint free. We're not gonna put any paint there on. We're gonna let the white of the paper be the white in our painting and where we want those really, really light yellow values. We're gonna put very little paint because again, we want the white of the paper to glow and push through that paint, and that will make the painting fill it up 5. Practicing the Gradient: watercolor has two main ways that we paint. We paint wet on wet and wet on dry. We're going to do both in today's painting. What own wet is when we have a wet peat piece of paper and we put more paint on top of it. What on dry is when we paint on top of a dry piece of paper? We're going to do our sky are sunset with a wet sheet of paper, and then we're gonna apply paint on top of that. Once that is dried, we're gonna paint wet on dry by taking our darker purple. Paint and painting are palm trees on the dry paper. The wet on dry is pretty straightforward. Most people don't struggle with that because we're used to using a dry surface of paper. When we right when we paint, we typically paint on a dry surface with watercolor. We have the ability to play around with a wet surface, and this is what it's so fun and great and different about watercolor. It's also a little bit more challenging and sometimes more nuanced and take some practice. Um, so because of that, we're gonna do a quick little demo and it's going to do two things. It's gonna get you used to painting wet on wet. And it's also going to give you an idea of what? How our background is gonna be arranged. Our background. It's gonna be a simple Grady int, and it's gonna go purple, pink, yellow and then pink again. So let me do a quick chart for you to see what I'm talking about. I always start with my lightest color, so we're gonna do our yellow first. And then from there we're gonna work, and then we're gonna have a pink area of ingredient and then another pink area of the greedy int and then at the top of the painting, we're gonna have that purple. So this is kind of the chart you can follow to, kind of get an idea of where we're going to put things. Um, so it'll be purple, pink, yellow, pink. But because we're painting from light to dark, we're going to do the yellow first, The yellow. I'm gonna put in about the bottom third of the piece of paper. So what will this look like in reality? What this means is that we're gonna cover a paper with water. So let's go ahead and do ingredient. We're not gonna put any clouds or anything fancy on it. We're just going to do ingredient. But we're gonna do it in the way that we're going to do it in our final painting. Um, the Onley part of the Grady in where I'm not gonna put put color is in a few parts of this yellow section. I'm gonna leave some white, so let me grab grab your largest brush and some clean water in lay in a little bit of that water on your paper. Do it in a cross hatching motion. This means you're gonna scrub it horizontally like this, and then you're gonna brush it vertically like this. This will get rid of any, um, areas that you missed. And it will also help remove and evenly distribute puddles of water. Um, I can see as I'm working if I have any puddles. And if I do, I just take my brush and lifted off and then put that excess water on my paper tell we do have to work quickly with wet and wet. So let's take our little brush and the way I leave gaps for this simple painting is just paint stripes. This may seem kind of simplistic, and that's the whole point. I want this project to be easy, easy to understand and easy to dio. You can make these uneven stripes. Let me do one where I just start in the middle and pull to the outside. That's totally fine. Um, this doesn't have to be perfect. It doesn't have to be even. But you do want to leave some areas of the paper that air still white, and then I'm going to grab my larger brush and do a small band of pink at the bottom. And then I'm going to do a small band of pink right above, actually not small. It's gonna be about the size of the yellow above the the yellow, And then I'm going to dio my purple at the top, and that's my ingredient, for that's the building block of what we're gonna do in our sky today. So you might notice a couple of things there. Um, there's some pretty harsh transitions here. You can ease that a little bit by coming down into that pink with the purple like that um, you can mix it as you go and create a midlevel color. Um, but the reason I don't worry about that transition too much is because that is where we're gonna put our clouds. The clouds will become that transition for us. So in our final piece, I'll put some purple clouds here which will break up that harsh line. The other thing you might notice is that things were moving around. I put yellow paint here and I left that area white. And now it's kind of engulfed and swallowing it. Um, that's okay, too. That's part of what happens. And you will want to leave a larger area of white than what you want in your dried piece because your paint will grow and bleed. Um, something else you can do when this happens is take a little piece of a paper towel. And I actually like to use the rough kind of dug aled edge for this more gentle and while my paper still wet, just go back and lift up a little bit of that yellow and bring back my white. You will want to do this very gently, and you want to do it while the papers wet and see. Now I've brought back some of that glow. So this is our Grady in practice This a couple times. If your ingredient looks really, um crazy and your pains just going all over the place, this is due to the need to practice water control. And the way you will do that is, um, repeat this exercise and what's probably happening is you're using too much water if you're paint, um, is moving and puddling. That's an indication of too much water. Your paint will expand. That's even if you do a perfect job, your paint will still move and expand. So, um, be prepared for a little bit of unexpected results. But just know that if things were really kind of doing craziness on you, it might be because you need to adjust how much water you're putting either in your pains or on your paper before you begin. So this is why this is such a great exercise to try, practice it practice at multiple times each time, maybe use a little bit less water, or if you're painting, looks like if you're getting some dry brushing effects, then you're definitely not using enough water, so add more water. If your paint looks to washed out, then maybe add more pigment to your paints. If, um, if they look too dark on your paper or you have one color that's just really standing out, that means that you need to wander that color down a little bit. And that's where swatches really come in handy. Um, ahead of time. I always watch out my colors ahead of time. That really helps me because they have done so many paintings where I didn't do that. I skip that step. And then I dropped that color into my piece and it just looks garish. And then I think, Ah, um, it's too too pigmented. I need a water that down or I added into my piece, and it just looks like pure water, which means I didn't add enough pigment. These air, all natural. These are all things that happen to all of us. So, um, a good way to prevent that is to swatch out your colors beforehand and get those mixes looking the way you want, and then just practice this practice this demo a couple of times, you can flip your paper over and practice on the back. The only thing I'd say is I would like you to practice your demos on the same paper that you're going to do your final piece on. That way you don't get any surprises. When you go to do your final piece in the next, um, section, we're gonna do a couple of cloud demos and then we'll be ready for painting. 6. Practicing the Clouds: way, Theo. Clouds are quite simple, and there are a lot of fun. The gestures and shapes that I used for my clouds are very simple, so I'm gonna show them to you really quickly. And I want you to follow along and practice them and come up with some of your own to a zoo . You look at some reference pictures. You might see things that are entirely different from what I'm doing, and you might want to give those to try to. My cloud shapes are, um, pretty consistent. I use basically three main gestures when I'm creating my clouds and they are I'm gonna show you on dry paper first. That way you can see what I'm doing with my brush. It's easier to see it on dry paper. Once I've shown you, then we will practice them on the wet side of the paper. So just grab a scrap sheet of paper. This is just a piece that I had left over after I trimmed my, um, paper for a different project. And, um, grab your little brush and let me show you what the first thing that I want to show you is this kind of uneven line and that I will typically do scuttling across the sky closer to the horizon. This indicates clouds that are far away, and that's why they look kind of compact ID and almost like a line. You can vary that a little bit by pushing down. What kind of like what we do when we paint leaves? Um, that's kind of the first thing that I will do. The second thing that I like to dio are little puffy clouds and on dry paper. It just looks like dots. But on the wet paper, these little dots of color will will expand and create some really lovely puffs to practice . Then you're gonna kind of want to move up and down and around, have bigger sections and skinny or sections, and then the third thing I do is call most like a script. It usually goes from a big to a small, and it kind of almost looks like writing. I also do this in a circular motion to create bigger clouds. I think that it usually gets bigger and smaller in section, so those are my three main clouds. I repeat these three gestures on big pieces of paper on little pieces of paper. I just increase or decrease the size of my brush. And, um, I really like the different cloud shapes that I get doing these motions. So play around with those. Let's see what they look like when our paper is wet. So grab your large brush and let's put a little bit of water on our paper, just like we did in our ingredient. Do it in a crosshatch motion. I can tell. I grabbed quite a bit of water, so I'm actually removing some while I'm doing my my cross hatch and you don't need your large brush anymore. Grab your little brush and let's practice each of these reaching for my purple. And I'm just going to kind of drag this brush across the sky. If you want something skinnier or less vibrant, all you have to dio is dab your brush on your paper towel before you begin, and you will get something much more subtle and soft. You see the difference to try that one more time, and, um, here we go and you can work something after it's already been placed on your paper. If you notice it's kind of bleeding, and you wanna kind of blended in a little bit better. You definitely can do that. And then let's do our dots, these air for heavier, thicker, more Billy clowns, Um, and again, if you take your brush and dab it on the paper towel, you'll get a much softer kind of tender cloud shape. And then the third is that script we were talking about that goes kind of from big to small , and then this kind of same thing, but kind of the billowy version. My brush is actually kind of turned to the side for this a little bit, so I'm using the entire portion of the of the bristles. For this we do one more practice going in both directions so that your clouds don't always come from the right side of your paper, where your left side, you want to make sure that you're balancing how there looking on your painting. And like I said before, once you placed something on your paper, you are certainly free to a just and add and subtract. If you take your brush and dry it on your paper, you can pull some of that pigment off. Or if you say well, that cloud really should be darker. Grab some more paint and do it again, keeping in mind that you you are working kind of against the clock. So once that paper starts to dry, go ahead and stop adding paint. And there you go, those air my clouds. That's simple, right? It's, um, hard to break down some of these things when you're looking at a completed painting. But now that you know kind of what you're looking at and what you're looking for, I don't think that you will struggle with creating skies and clouds by just kind of following some of these simple gestures. 7. Painting the Sky: are you ready to do our final piece? This large, wet on wet background is my favorite thing to do in water color. You get some really beautiful organic blends and bleeds because the water is pushing that pain around and kind of doing its own thing. So for that reason, I love it. It's always exciting, and I always get some really beautiful effects. You might see different things happening on your paper than what's happening on mine, so feel free to respond and react to those things, even if it varies from what I'm doing. So you ready to get started? Let's begin by doing our water wash and grab your large brush and you're clean water. Dip it around in that in that clean water and put a nice even coat of water. Well, in your entire piece of paper, I'm going to dio my cross hatching for strokes to make sure I am covering my entire sheet. I also have lights all around me when I'm working for this reason so that I can see um, the sheen of the paper. And I can judge very quickly if I have a puddle, and if I don't If you can't see that reflection of the light on your paper, maybe add a little bit more watt, um, light to your workspace so that you can look and remove puddles. If I see a puddle, I'll just take my brush, then lifted off. All right, let's begin our background with our little brush and get a little bit of yellow on it. And about 1/3 of the way into the paper. Just start creating that drift of bright yellow clouds going across the sky. Make sure you leave room for that white to burst through. This is really important on the the yellow if you want to create ah glow effect on your painting, okay. And then at the very bottom, that's where I'm gonna add my little strip of pink. So when you're done with your yellow, grab your large brush and we're gonna put a little bit of paint down here. It's pretty close to the sun, so I'm not gonna put a lot. I wanted to feel like it's glowing, and I'm actually going to drag my brush across and do a little kind of a horizontal line through the yellow won't down here with my pink and I'm gonna do the same thing up at the top, and then I'm gonna go back in and grab more pink and do my pink swatch of my greedy int. And then finally, my purple, that's gonna be about the top third for that darker, cooler ingredient. Well, I'm still holding my purple my large brush with my purple I'm gonna go ahead and do some clouds scuttling across the pink part of the sky I'm gonna work my way across the paper, but I'm gonna vary the size as I go creating that kind of band of purple And I'm gonna do another one smaller one right underneath as well. This will break up that large, open space that is that pink area, and I'm gonna ground my smaller brush and just pull a little bit of that purple on here and do a couple of as I get closer to the horizon, do a couple of, um clouds that look like they're far away in the way. I indicate this is their flatter and smaller. He see me dabbing my brush on the paper towel before I go in to that painting. Something else I do. I don't know if you noticed I grabbed a little bit of pink from up here because I know it's not gonna flowed my brush entirely, but will be just a hint of color. This strip of cloud came in a little darker than I intended, so I'm just gonna kind of work it in that. And I'm getting close when they grow up one more bit of purple and pull across the bottom, Breaking up that large yellow swatch I'm drawing down at the bottom. I can see it quite clearly from where I'm sitting it. It looks quite dry, So I am going to have to stop working on the bottom. Once our paper dries, we can no longer get these nice bleeds and blends. So work quickly and pay attention to where you see that sheen on your paper that she and starts to go away. You need to stop working because that means that your papers to dry to get that nice diffused to look and what? Well, what you will get is a hard line. We don't want hard lines. The whole point of doing this wet in wet is to get these soft, fuzzy lines, Not the hard lines. Okay, Now, before I stop, I can tell this part of the paintings Still a little bit wet. Someone to come back in and do one more, um, pass of the darker purple in the form of, you know, cover the top part of my paper, making it feel like way up here. It's really gotten quite a bit darker. You know, I'm gonna drop a little bit of a cloud line right beneath that. Break up some of that space. I really put clouds in where it looks like it's starting. Teoh all look the same and I want to break Break it up a little bit, is what I'm what I'm responding to use my little brush to kind of well, in those little star bursts of color together a little bit, my papers almost dry. So right before I stopped gonna blend a little bit more, and then I'm gonna have to stop working on the paper. All right? I'm gonna let my painting dry. Um, let it air dry. I do use a hair dryer sometimes when I work, but I usually save this for shapes. If, um if I put a hair dryer on this, I might move things around or create some hard lines in my sky where it's really wet, because one part of the paper will dry faster than the other. If I leave it, let it dry naturally, it will all dry at the same rate. So, um, let your strike and then we'll work on our palm trees. 8. Practicing the Palms: while waiting for a background to dry. Let's talk about how we're going to paint our home trees, punctures air, fairly straightforward. There basically a trunk in some Franz at the top. So we only really need to practice doing two separate things. I'm going to use my little brush for the entire tree. Um, I'm gonna grab some of that darker silhouette color and for the truck. I'm just going to start where I want the proof at the top of the tree to go. Gonna start kind of around that base and I'm going to draw the line coming away from it. I hardly ever get the trump painted perfectly in one pass because I am using a little brush . If you have more than one brush, use a slightly larger brush. I'm demonstrating this with my little brush because I don't want you to feel like you have to have a ton of supplies to complete a painting. If you don't have a medium sized brush to do the trunk, then just go over a couple of times like this. It will get a little bit larger as you get closer to the base. And I found two with with a silhouette. Sometimes while the paint is still wet, then I have to come back and drop a little bit more of my darker color in too dark in that shape up a little bit with the truck. I just have to go over it more than once because the trunk does dr a little too quickly for me to do that sometimes. And there's there's what I'm gonna do for my trunk. Now the branches air pretty easy, and there you have lots of options for shapes and sizes. The main shape that you'll use for a branch kind of comes out and then drops down. And then all you're gonna do is a couple of these. Um, let me show you on my larger brush. You're going to do some very quick, um leaves, starting at the base and working towards the tip and see if I can show you on my big brush really quick. You're just gonna kind of pull and do not worry if they're perfect. This fresh isn't quite the right shape for these leaves, but my little brushes Perfect. So I'm gonna get a perfect little leaf by doing this gesture down here only are up here only home. So starting from the base, which the base will be here, I'm just going to grab loaded brush and then start pulling my leaves down. And while it's still wet, I'll drop in a little bit more color and fill in Some of these gaps. Do not feel compelled to fill it all in because you really want this branch to look like it's just kind of swaying in the wind and things move around. It's not gonna just hanging perfectly a couple of other brush or branch styles, and I'll do is kind of the straight one. This we will be looking at from the side so we don't always see a completely fan now. And a lot of times you just kind of get that shape and again while it's wet drops, um, that color in and then the third main shape that I will do is kind of the poofy one on, and it's more of an angle, like, almost like how you see a feather and this one I'm going to do, coming at it from both sides. I don't usually put a lot of poofy ones in. But on one country I'm I put one or two. This is the shape I use most often. And like I said before, feel free to very and make some in perfect shapes and sizes In here, You don't want every single leave to look exactly the same because that will just kind of look unnatural. And that's it. That's the three main shapes that I do on my palm fronds. I have them all connect to the base like this, and, um, and they extend out from here like a dandy lion, Um, that you would below a little seeds off with that. And as you work, try to vary the different shapes that you're putting and trap it. At least six on you might put as many as 12 depending on what style home tree you're going for. Look a couple of references and decide ahead of time. What your You know what Look, you're kind of going for and then try to fill the paper out. You know, about this much around it around that base. All right, let's get started 9. Painting the Palms: way are going to put a couple palm trees on here I'm going to do to. I'm gonna have one. I'm gonna try to make one a little bit higher than the other right here. And one a little bit lower down here, and then there trunks will reach down like that. So I am not gonna use my larger brush for the trees. I'm just gonna go straight with the little brush and grab my darker color that I've already mixed up. I want my, um, palm fronds to start about here. So I'm going to grab my brush and begin my trunk right about here, Kind of just creating an outline of where I wanted to go. A lot of times when I'm doing my trunk because it's such a long way down, I have to go back in and re apply some of my color, um, four year palms. Don't feel like you have to make them perfect. If you've ever gone through and looked at a photograph of a palm tree, you'll notice that there bumpy and sometimes they have pretty scrawny, um, Franz on them and just a little bit of variation on the shape So, just like in the demo, I'm going Teoh, create my branches and reapply that, um, color as needed. Drop a little bit of color in and work my way. - And there we have it both palm trees, air done, and I'm going to let them dry. And then I will carefully remove my painting from the block with a palette knife on a block . Typically, there's an opening someone to use that opening to, um, pull the sheet all the way off, and then when it's try, I confirm it. 10. Final Thoughts: e had so much fun doing this painting with you today. I'm really happy with how the final piece turned out. It's a very soft sky. I wanted to show you some of the pieces that I did when I was practicing and kind of deciding how I wanted the class to go. Because as I did some practice pains, I got some very different effects, and I wanted to show them to you to demonstrate how different even one artist using the same paints in the same technique and formula can get such different results in our pieces . So these are the ones I did kind of leading up, and you'll notice that these all have a border. I thought it would be really neat to tape it off on the four sides before painting and then remove the tape on the top and the sides and leave it on the bottom. What I painted my palm trees and that way the palm trees kind of overlap a little bit with the edges on, and I thought that was really neat and I ended up not doing it in the final piece, but I wanted to show you to give you something else that you could try on your own. But look at how different these pieces are, and they're all mine. Um, and they're all the same colors. But, you know, one might have a little bit of, um, a little bit more pink in the skies. A top and one might have a little bit more purple. And, um so it's just so much variation. This one was almost stormy looking, and ah, so I thought that was kind of interesting to so as you're working, play around. And if you come up with a piece you're not super happy with, don't stop. Keep doing it. Keep trying it. It's all about water control. The more you do it, the easier will get. And, um, and try some of these different things the different techniques. You don't have to do your palm trees. This way, you can have them, um, kind of crowding from all sides. You know, like you're looking down a road or driving through them. You could have them. Um, from the perspective of looking above And, um, you know, there's just so many different things you could dio so experiment and play around with it, and I cannot wait to see what you guys come up with.