Lavender Dreams: Explore Loose Painting in Watercolor | Elina Zhelyazkova | Skillshare

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Lavender Dreams: Explore Loose Painting in Watercolor

teacher avatar Elina Zhelyazkova, Watercolor Artist

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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 (46m)
    • 1. Welcome to Class!

      1:33
    • 2. Class + Project Overview

      1:18
    • 3. Materials

      3:28
    • 4. Exploring and Mixing Purple Shades

      4:49
    • 5. Perspective and Composition

      2:59
    • 6. How To Paint Loose

      6:13
    • 7. Final Project - Painting the Sky

      8:04
    • 8. Final Project - Painting the Fields

      13:24
    • 9. Final Project - Finishing Touches

      3:47
    • 10. Wrapping Up

      0:31
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About This Class

Have you discovered your style yet?

Trying different approaches will help you get closer to know your painting style and preferences. 
And while loose style in watercolor is captivating, it's also rather tough to to learn.

In this class I will help you to dive into it and try it for yourself!
You will learn how to achieve the loose expressive look we all admire and how to make it more interesting by adding different effects.
You will learn the basic rules of perspective and composition which will help you to add depth in all your future works.
We'll also play with our paints and will try to find the perfect color combination that gives us the brightest purple shades!

Finally we are going to paint a mellow and strikingly beautiful lavender field at sunset!

So join me in this trip to Provence and immerse yourself in the relaxing athmosphere of lavender dreams!

Materials:
- Watercolor Paper – I suggest that you use 100% cotton 300 GSM cold pressed paper. Rough texture will also work. I will be using Fabriano Artistico cold press;
- Watercolor Paints – a regular set with the basic colors would do;
- Watercolor Brushes – use your favorite brushes;
- White Gouache – we’ll use it to mix our own pastel colors. If you already have pastel colors, you don’t need it;
- Two jars of water;
- You may need a pencil, an eraser and a ruler;
- Paper towel or a cotton towel for dabbing your brushes;
- Paper tape;
- A plastic board to tape your paper to;
- A palette to mix your paints.

I highly recommend that you take my previous classes before jumping on this one.
The techniques explained there will help you to better understand this class' subject.

Meet Your Teacher

Teacher Profile Image

Elina Zhelyazkova

Watercolor Artist

Teacher


Hello friends!

My name is Elina and I am a watercolor artist based in Bulgaria.
I live in a beautiful city by the sea with my husband and our rescue dog.

When I was little I was in love with painting and drawing. I used every spare minute to draw and sketch and I must have filled hundreds of sketchbooks.
I wanted to dive deeper into art and maybe one day work in this field but I was told that I better go for something more practical.
Then, as it often happens, I abandoned my childhood passion when I was a teenager. I got my master’s degree in Economics and started working right away in this field.
I don’t know what it was that rekindled my love for art, probably I was unhappy and was looking for something to help me relax.
Today I feel ... See full profile

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Transcripts

1. Welcome to Class!: Lavender embodies so many things that I love: the purple color, the intoxicating smell, the feeling of calmness. It always reminds me of France, a place I've always dreamed of visiting because of its beautiful countryside, old traditions, wine and food. Since trip to France is likely unimaginable right now, I thought we can travel through art. Hello friends. My name is Elena and in this class I'm going to show you how to paint mellow lavender fields with watercolor. Watercolor is a much calmer. I love that I can use it to create both loose or realistic works. From my three years of practice, I found then that I love to paint more relaxed painted landscapes with colors that flow into each other and details that are more hinted than meticulously painted. In this class, we're going to explore the loose styling watercolor. I will give you my tips for achieving this loose and expressive work. We'll, discuss the main aspects of perspective and composition. We'll also play with our colors and we'll try different mixes and effects. Finally, we are going to paint beautiful and picturesque lavender field at sunset. This class is for you if you want to get closer to finding your style, or if you want to loosen up a little bit. Or if you're like me and you love purple, [inaudible] lavender fields. Shall we get started? I'll see you in the next video where I will tell you more about our final project. 2. Class + Project Overview: For the final project in this class, we're going to find a dreamy lavender field. We will use mostly wet in wet technique and some cool effect to make it look more interesting and painterly. If this is something new for you, don't worry, we're going to have lessons and exercises that will prep you up. First, we are going to choose the color palette for our final project, focusing mainly on the purples and the different mixes we can use to achieve purple shade. Next, we'll learn about perspective and composition, a subject that may be intimidating, but don't worry, we'll go through it main aspects only, and you'll see how using just the basic rules of it will add another dimension to our painting. Next, we'll discuss what it means to paint loose and how to get better at it. I will show you some cool effects that you can use to make your paintings look more alive and rich. They are universal and you can use those in all your future works. If you haven't checked my previous classes, I suggest that you do it now, especially if you're a complete beginner. You will learn the basic watercolor techniques and some cool tricks and tips. You will also feel more confident and prepared for our future lessons in this class. Otherwise, I'll see you in the next video where we'll discuss the materials for the class. 3. Materials: Here's what materials you're going to need in this class. We'll start with the paints this time. For this class, I'm going to be using Art Philosophy, Artist Grade Tubes. I like them very much. They have very nice, intense colors, and they are really high quality. I highly recommend them. For the final project, I will use mainly cobalt Blue hue, opera rose, greenish yellow, indigo, and ultramarine deep. I'm also going to be using the same colors, but I squeeze them in these parts, and I use them to pick up just a little bit of color when I need it. For the mixing part, I'm also going to be using permanent red, rose madder, crimson, and Prussian blue. You can use whichever colors you have available but it is better to have a variety of reds and blues to try different combinations for mixing purples. Next is paper. I recommend that you use 100 percent 300 GSM paper. In this class, I am going to be using this Hahnemuhle watercolor. The size is 24 by 32. It has rough texture which helps a lot with the effects we're going to use. Since it's a block, it's glued on all sides and I don't need to use the paper tape to tape down my sheet or board. But if you are not having block, you will need also a paper tape and a board to tape your paper to. For the exercises, I'm going to be using this Fabriano Artistico. It's again 300 GSM and it has cold pressed texture. For the brushes again, I'm going to be using my big hake brush to water my paper. It has very soft hair and it holds a lot of water. I will be using my Da Vinci Casaneo Size 4, it's really big brush and I'm going to be using to paint the bigger elements in our painting. Next for the clouds in the sky, I'm going to be using my Princeton Size 4, it's synthetic brush, it doesn't need to have a sharp tip. I may also be using my Schimoni Art by Fibonacci Size 8 rigger brush. I use it to bring very thin lines and tiny elements. It has a very sharp point, and I will maybe use my Silver Silk Size 4 flat brush to pick up some of the colors. I will show you how to do this. For the sketching part, you will need a pencil, an eraser, and a ruler. I'm going to be using my mechanical pencil again and my soft eraser and the spray bottle, I will use to spray my pens before starting to work. This will help activating them and it will be easier to pick them up with my brush. I will use ceramic palettes. This one is my lavender filled palette. I use it to squeeze the same colors over and over again, and I rarely wash it. For the mixing part, I'm going to be using this palette, it has a lot of wells, so it will help me to keep the colors clean. I will use two jars of water, one to rinse off my brush and other one, I will use when I need clean water. Again I will use a cotton towel and a paper towel to absorb the excess water and paint from my brushes, and that's it. Prepare your materials and I will see you in the next video. 4. Exploring and Mixing Purple Shades: Purple is a secondary color, which means that you can get it by mixing two primary colors, red and blue. Nowadays, we have so many options to choose from. There are multiple variations of purple on the market, and I have few of them, but I also love to mix purples. In this lesson, I will show you how you can do it. Purple is a tricky color to mix in watercolors. Almost everyone knows that you get purple by mixing blue and red, but if you try this, you probably didn't get the exact shade you were going for. How to mix vibrant purples? To learn that, you need first to understand the color wheel. There are tons of materials online about color theory, so I won't go into too much detail. The basic thing that you need to know is that the color wheel is just a circle of colors organized by their chromatic relationship to one another. Yellows, red, and oranges are perceived as warm colors, and purples, blues, and greens are considered cold colors. You see how the left side of the color wheel is consistent of cold colors, and the right one of warm colors. A cold color will lean towards the cool side of the color wheel and vice versa. So a certain blue is cold if it's closer to green than it is to red, and certain red is cool if it's closer to purple than it is to orange. Here's how to get different shades of purple by mixing. You will get the brightest saturated purple by mixing cool red and warm blue. In other words, you use blue and red that are closest to purple on the color wheel. Of course, you may not want to have the brightest and saturated purple, then you can mix a warm red and cool blue. Now we'll try different color combinations with blues and reds and we'll see the shades of purple we are getting with each of the mixes. I have separated my sheet of paper and on the upper part, I have different types of blues. Here, I have the different types of reds. I'm going to be mixing each of my blues with each of my reds and we'll see the shades of purple we are getting. First, we'll start with cobalt blue. I'm squeezing a bit over here in my palette, and I'm adding to this permanent red. I will place a little bit here on my palette as well, and now I will mix those two colors. I'm taking some of the cobalt blue, and let's see the color we have. Now we have very deep, very dark purple. The color is very intense. Now I'll add a little bit of blue to the same mi, just to try different combinations. This is more bluish-purple, almost like indigo. Now adding more permanent red to the same mix, and again, this is very dark, warm purple. It's muddy. I'm adding a bit of water, just to see the same shade but lighter. I continue to add different amounts from the same colors again and again, just to try different variations. I continue to do the same with all of my blues and all of my reds. I sped up this part a bit. I'm adding more or less water, and then I'm adding more or less blue and red. This really helps me to get my colors better and to know which combination I can use for my future paintings. Now I'm done with all the mixes and all the variations I decided to try. You can see that for example here with Opera Rose, I get very bright saturated, almost neon purples, and here with indigo, we got very dark, very intense muted purples. I also love the purples I am getting with ultramarine blue and especially the ones with ultramarine blue and Opera Rose. So this is combination I am going to be using for my final painting. Try this with all your blues and all your reds and choose the combination that you like the most. I'll see you in the next video where we'll discuss the main aspects of perspective and composition. 5. Perspective and Composition: Now let's talk about perspective. Perspective drawing is a technique we use to create linear illusion of depth. For the purpose of this class, we'll have a look only at one-point perspective. One-point perspective means that all lines extending from the foreground to the background gather at one point. The point of convergence is called the vanishing point. The vanishing point will always be on the horizon line or eye level of the scene, which represents the height of the eye or camera of the observer. Now let's talk about composition. For a bows composition, I use the rule of thirds. Taking any image, you can split it into nine equal segments by using two vertical and two horizontal lines. The rule indicates that you should place key elements of your scene at one or more of these areas in a photo. Let's see how this works in practice. I'm imagining my sheet of paper, divide it by two horizontal lines, and now I'll place my horizon line in one of those lines. This will be our horizon line. This is the place where the sky and earth meet. Now let's choose our vanishing point. It should be on the eye level. I will place it, again, on one of the imaginary lines that separate my sheet of paper in three equal parts. These are the two points that the vertical lines cross our horizon line. I think my vanishing point will be somewhere about here. This is the place where all the lines will meet. Now I will use it to draw the lavender field. I'm using my ruler, and each of the lines ends at this point. That's enough for the lavender field. Now I want to draw a house. I will place my house on the other point of interest, where the second vertical line crosses my horizon line. This will be the front of the house. Now remember, all the other lines need to meet in the vanishing point. I'm imagining that the lines will meet here at the vanishing point. I draw all the lines, the side of the roof too. Now I will just draw the backside of the house like that. This is it. Our house is ready and it's following all the rules of perspective. I will erase some of the lines just to help you get a better sense. Remember, all of the lines extending from the foreground to the background gather at the vanishing point. Following the rules of perspective, also we need to use more intense and warm colors in the foreground and less saturated and cold colors in the background. Also in the foreground we use more details and in the background we use less details. I will demonstrate this in the next lesson where we will discuss what it means to paint loose and how to achieve these cool, expressive look. See you in the next video. 6. How To Paint Loose: Have you discovered your style yet? If you love to paint clean, crisp lines and details, you're probably into traditional realistic style. If you're like me and you're like flowing colors, fluid strokes, and DDL that I just suggested, then your style is most likely loose. Both these styles are great and can be used to create masterpieces. In the beginning of my art journey, I thought that I want to paint realistically but recently I found out that I'm so much more into loose style where creativity and the style of the artist shine through the painting. If you haven't found your style yet, there are two ways to do it. One, pay attention to what inspires you. Take notion of the works of artists that you like. Why do you like them? Are they realistically or loosely painted? Two, try both styles and see which one feels better and brings you more joy. How to paint loose. First, you need to change your mindset and expectations. The idea of loose painting is not to have a photographic representation, but rather to catch the general impression of a subject or a scenery. Focus on the mode and colors that you feel and see and don't get caught up into too much details or attempts to make it perfect. Use bigger brush. This will help you to let go of control and will prevent you of going into too much detail. If you hold your brush far from the bristles, your stroke will be more natural and fluid. Painting wet-in-wet. By painting wet-in-wet, you won't be able to control everything that's happening on the paper. You will also get blurred lines and this is exactly what we are going for, fluidity and play of colors. Less details. You don't have to paint every single detail. For example, we won't be painting every lavender flower in our final project. We'll use brush marks and spot to suggest these. This way, our painting will look fresh and airy, which brings us to the next tip. If you paint loose, you may end up with flat painting, one that doesn't provide too much visual interest. How do we make sure we avoid this? By adding effect, you can make a flat wash looking interesting by adding different brush marks, splatters, salt, varied colors, etc. Here I will demonstrate my loose approach to this scenery. Also, I will show you how I comply with perspective rules when painting such scenery. First, I'm going to start with watering the whole piece of paper and I will start by painting the mountains in the distance. I use cobalt blue color instead of green color. We all know that the mountains in the distance, look blue instead of green. [inaudible] also some of the lines here. Next, I will paint the lavender field. I mix some purple colors and I start to paint the field by dragging the color from the foreground to the background. I use more intense color in the foreground and I just drag it up following the vanishing point. I use less color in the distance, also the purple mixes with the blue from the mountains, which is perfect. Remember, we need colder colors in the distance. I will pick up some of the color here because I don't want it to be too intense. I'm adding a little bit of bright colors here in the foreground again, just to make it more contrasting. My brush is always following the directions of the lines that they drew earlier. Next, we will paint the greenfield here on the side. Again, I am using saturated color in the foreground, and I drag it up to the background where I use more diluted color. It mixes again with the blue from the mountain, which is perfect. Finally, I will switch to a smaller brush, so far I was using a big brush because I didn't want to get caught up into many details. But now I can add more saturated color with my smaller brush. We will try to emphasize the lavender field and flowers. I'm taking more concentrated purple, and I'm adding just fewer strokes, lines, and brush marks going up the paper. I use less color and smaller brush marks. Again, I'm following the direction of the lines I drew earlier. I'm adding more concentrated color. This time the color is more blue because I want to have a variation, I'm not using just purple. Otherwise, my fields will look too boring. Now, I will paint some grass. Here in the foreground, we can see the blades of grass and then the distance I'm just using diluted color to make few brush marks. Now I will make some splatters here in the foreground using different shade of blue. Using clean water. Now I will leave this to dry. My paper is dry now and now we'll use wet-on-dry to add more details to the lavender fields here. Remember, we're adding details only in the foreground. When we go to the background, we use less details, less saturated colors, and more blurred lines. I will paint again some blades of grass only in the foreground. In the background, they will be smaller and shorter, then few dots. I'll smudge it up a bit. Try this exercise on your own and remember, use less color in the background, more intense color in the foreground. More details in the foreground and less detailed in the background. I'll see you in the next video where we'll finally start our final project. 7. Final Project - Painting the Sky: Finally, it's time to paint our final project. Again, I'm going to be using these hahnemuhle watercolor paper book. So I won't be taping my paper to a board. But if you're using just a sheet of paper, you'll need a paper tape in on board. So I'm starting by drawing the horizon line, and I'm going to replace it in the bottom part of the paper. Here is going to be our vanishing point. So all lines that are extending from the foreground to the background, we'll meet in this point. Now, I will draw the lavender fields. They are going to take the whole section here, and while I'm going to the sides of the paper, I draw these lines closer and closer together, and that's it. Our lavender fields are done. I will pick up some of the graphic lines using my soft eraser. We need to do this so that our lines are not visible when we paint over them with watercolor, otherwise they will be too hard to erase. Now I will squeeze all my paints here on my palette. So again, I'm going to be using greenish yellow. If you don't have this color, you can mix any yellow with any green you have. Next is indigo, cobalt blue, ultramarine deep. I squeeze more of these because I will use it for the lavender field, and of course, opera rose to mix those vibrant purples. I will also prepare my pears. I will spray some water on them, and I will start by wetting the whole sheet of paper. I will just place it like this so that I can have a slight slope and the water will flow down the paper. I am taking my time to water the whole sheet of paper very well. I'm going back and forth with my brush, introducing more and more water in trying to spread it evenly on the paper. I wait for the paper to soak up some of the water just a minute or so, and then I go back again with my brush, and finally we are ready to start and I will start by using my big brush, Casaneo by da Vinci. We'll start by painting the sky. So for the sky, I will use just a little bit of lemon yellow. I'm spreading it on the paper from side-to-side. I drag the color up. I mix whatever has left on my brush with opera rose, and I place it on top of the yellow spot. I clean up the line over here. I'm spreading the lemon yellow and opera mix on the paper in order for the colors to mix well. I mix it with the clean lemon yellow I have here below, and I continue to drag the color of the paper. I intensify here on the bottom, and we are ready to go with the blue. I mix some of the blue with opera rose, and I'm starting from the top of my paper. I'm making bold strokes. I'll leave some white gaps, which will be our cloud, and I drag the color down to mix it with the opera rose. They mix and make a very nice soft purple. So I'm just going back and forth from left to right and from right to left. Because the paper was very well watered, I get this more blends. With my smaller synthetic brush, Princeton size 4, I will start to add the clouds. I use synthetic brush because it's easier to pick up intense color. I will add a little bit of lemon yellow again here on the bottom where the sun is shining. I try to blend it smoothly with the rest of the colors I already have on my paper. Now I'm mixing some of the opera rose with ultramarine blue to get the vibrant purple we are going for. I have very little water on my brush and I start to make spontaneous brush movements on the paper. This will be our cloud. The paper is still wet so the paint spreads beautifully and create these soft edges. If you want to learn how to paint beautiful and smooth skies, you can check out my previous class. Now I'm using warmer color for the clouds that are here below. Adding more and more pink to the mix, while we're going closer to the sun. I use the same mix to add little bit of interest to the purple clouds that are on top. I place the warm peak on the bottom part of the cloud. The one that is facing the sun. Now mixing slightly bluish purple and I use it to paint the clouds on the top. 8. Final Project - Painting the Fields: I water again the bottom part of my paper, since it was starting to dry and now we'll paint the greenery in the distance. I start by using greenish yellow. You can use just lemon yellow or mix lemon yellow with some of your green if you don't have this color. Again, I'm using very little water, very concentrated paint. I dab my brush on a piece of paper towel before I'm going in and now we'll try how the paint is spreading in the corner of my painting. If it's spreading too much, I will wait a little bit, but I am happy with the way the paint is spreading, so I will continue to add more and more color. I try to make these spontaneous movements, and when I reach the part when the yellow sun is shining, I'm just dabbing and I go on the other side. I'm washing my brush now. I'm taking pure lemon yellow. I add it to the mix I have over here, which is again, lemon yellow and opera rose. Now we'll use this color to paint the greenery right in front of the sun. I take my big brush again, I wipe it on my towel and now we'll use it to smooth the edges. We don't want to have hard edge here. This looks good. I water the rest of the paper again. I don't want it to dry. I continue to work on the greenery. I'm starting to add indigo to some of the places where the greenery is. This will be the shadow of the greenery. It mixes with the yellow and it creates these very deep dark green. Again, I'm starting from the sides, and I leave more and more yellow part while I'm getting closer to the sun. This will help us achieve these beautiful glow of the sun going down. Notice where I'm holding my brush. Here closer to the sun, I'm using less and less color on my brush and I just mix it with the yellow I already have on the paper. Now we'll use an even darker indigo on the right and on the left part of the painting. This is where the shadows are most dark and deep. Also here on the bottom where the greenery meets the lavender field. I'm using less and less indigo when I go closer to the sun. Try the main gradually. Now I will use my Schimoni Art brush to paint some cypresses. You can just use your small brush for this, I love to use this brush because I can easily paint those cypresses in one brush mark. I use very dark color for this. Again, it's a mix with indigo and lemon yellow. I add a little bit of details, but not too much. Again, I'm using a dab brush to smooth the edge over here. We want to have a nice smooth transition between the greenery and the lavender field. I drag some of the color in the direction of the field. I'm wetting this part of the paper once more. We're ready to finally start and paint our lavender field. I'm starting by mixing some of the opera rose with just a little bit of ultramarine blue. I'm making this bold brush marks in the foreground. While I go up, I paint lines following the direction of the lines I drew earlier. Again in the distance, I'm using less and less color, and in the foreground, it's where I used my most pigmented variation of color. I'm starting to add a little bit of blue to the mix. To match shade of purple, we get by mixing those two colors. Again, I am adding bold brush marks here in the foreground. They get smaller and smaller while I go up the paper. In the end I'm just painting thin lines, like that. Don't worry, if you mix your purple with the green, it will make for a smooth transition between the field and the greenery in the background. Adding more and more blue to the same mix. I'm using very little water now, and now repeating the same steps over and over again, using more and more concentrated paint each time and adding more and more blue to the mix. Now I'm dabbing my brush on a piece of paper towel. Again, I try to smooth the line I have over here. Be careful not to introduce water to this part of the painting because it will spoil our greenery. I continue to add ultramarine blue to the same mix. I'm getting colder and darker color each time I'm adding more blue. I continue adding more and more color here. I try not to cover the colors I already have on my paper. I want this very light pink to be visible, still. Making thicker and thicker mix. I continue to add different variation of the same purple color. You can see how it changes the painting already, we see not only purple but very light pink and blues. I'm just placing the color wherever I feel I need to add something more, and I'm not following any specific rule. Now with almost clean ultramarine blue, I'm going here on the side. Now it's time to paint some green here in the fields also. I'm mixing ultramarine blue with the greenish yellow and I'm getting this rich and deep dark green. I'm adding few brush marks here where the empty spaces are. Again, I'm following the same rule, in the foreground, I make bigger and bolder strokes, and in the background, they're getting smaller and smaller until they are just the line. I'm adding more color here in the foreground. I mix different variation of the green, and I continue to add small details. I'm adding more and more blue to get a darker shade. I'm adding it only here in the foreground. I add more color on the places I feel like I need to have something more. It's finally time to make some splatters. I will cover the sky in the top part of the lavender field because, remember, we don't need to have details in the distance. The splatters are our details. Now I'm going with opera rose first. I'm taking clean opera rose and I'm adding few dots here and there. Next, I'll make some splatters with ultramarine blue. Again, I'm making few dots and lines. Finally, some splatters with the green color. I will use some salt for additional effects, you can skip this step if you want. Now it's time for the final wet-on-wet details. I'm using very intense indigo to add shadows to the greenery because I felt that it's too light. Just few dots and lines. I concentrate those here in the foreground as well. Now I'm mixing very thick consistency of purple and I'm adding again, few dots and lines with this color. I continue doing this until I'm satisfied. You can add as many as you want or as little as you want. But I love to have a rich foreground, so I try to make different variations of purple and add few dots and lines with the color I'm getting. Finally, I am mixing the purple with the green over here and I'm getting these very dark distant purple. I'm adding some dots and lines with this color. 9. Final Project - Finishing Touches: Now my lavender fields are dry and I'm carefully removing the salt and you can see the pretty foreground we're having with lots of dots and spots and details. Now I will try to fix this part I have over here when the sun is shining because I don't like how this turned out. I will use my silver chisel brush. I'm using just clean water. I dab my brush on a piece of paper towel and I'm just trying to scrub some of the paint. I'm washing my brush. I'm dabbing again on my towel so that it's just dab. Now I'm adding some of the yellow again. Voila, we fixed it. I'm spreading the color so that it blends with the rest of the greens and yellows I already have on my paper. I'm adding a darker color here on the sides. Now taking again some of this green mix. Now we'll add some details wet-on-dry. I'm doing the same with the purple. I will add a bit of purple rows here on my palette where the blues and the purples are, cobalt blue. Again, I am adding few dots and lines here in the foreground on the places where I feel I need to add something more. Here again, I will make some splatters this time wet-on-dry. I'm mixing a dark purple. Some clean opera rose. This is opera rose with cobalt blue. Voila. I'm just dabbing some of the excess paint I have here. I try to smooth again this part with a clean, damp brush. Now, I will remove my painting from the block and I will use a letter opener for this. If you don't have a letter opener, you can use a palette knife or a ruler. I'm just putting my letter opener here and I'm just running it on all of the sides. I need to do this very carefully because the glue is strong and you better wait for your painting to dry completely, but I'm a little impatient. Here is our lavender field. I really love how it turned out. I love the soft blend and I love the beautiful sky and the greenery in the background. I hope you enjoyed painting with me. I will see you in the next video for our final words. 10. Wrapping Up: Congratulations on completing the class. I hope that by now you are one step closer to finding your style. Don't forget to post your project in the project section of the class. If you post it on Instagram, don't forget to tag me so that I can see all of your beautiful creations. If you have a question for me just post it in the discussion section of the class, and I will get back to you as soon as I can. Until the next class guys, happy painting.