Learn to Paint Realistic Sunset Skies with Watercolors | Maria Smirnova | Skillshare

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Learn to Paint Realistic Sunset Skies with Watercolors

teacher avatar Maria Smirnova, 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

11 Lessons (1h)
    • 1. What is this class about ?

    • 2. Supplies

    • 3. Wet brush techniques

    • 4. Dry brush techniques

    • 5. How to avoid greens

    • 6. Sky. Part 1 : Preparing paper and colors

    • 7. Sky. Part 2 : Background

    • 8. Sky. Part 3 : Shadows

    • 9. Sky. Part 4 : Finishing shadows

    • 10. City

    • 11. Conclusion

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About This Class


Painting realistic skies with watercolors may be very challenging, because paint flows fast in different directions, cloud shapes are hard to control, and mixing  blue and yellow without getting green can be a real issue. In thos class I'll teach you to master these things.

 Join this class and you will discover:

  • Technical exercises for better paints and water control
  • Color theory for blue + yellow blends for the sky that won't give greens
  • Limited color palette for realistic sunsets
  • Tips for keeping the paper wet for longer

The lesson may be interesting both for amateurs artists who never stop improving their technique and for courageous beginners.

I'm looking forward to seeing you in the class!


Here are  materials I used in this project:

- Watercolor paper - Arсhes -  100% cotton, cold pressed, 300 gsm + paper for color test and exercises

- Brushes: Flat goat brush 4cm, Round squirrel brush 5mm, round mixed brush 10mm, round synthetic brushes 3-6 mm

- Colors: Napples yellow red (Rembrand); Sennelier: Naples yellow, Indanthrene blue, French vermilion, Royal blue, Neutral tint

- Clipboard + masking tape

- Water spray (Derwent)

- Paper towels

- Cup of water

Music: bensound.com

Meet Your Teacher

Teacher Profile Image

Maria Smirnova

Watercolor artist



I'm Maria, a Russian watercolor artist, currently based in Paris.

An electrical engineer in the past, I've changed my whole life chasing my dreams.

I draw and paint since I remember myself and the last several years were about practicing watercolor. I totally fell in love with this amazing material and it has become a big part of my life by now.

Almost every painting I’ve made is about light. It is all about something instant, flash slipping away. 

I'm glad to share with you some techniques and tricks I use in my work!

See full profile

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1. What is this class about ?: If you have a tried painting a realistic sky in watercolor, you probably know that it's not that easy. Paint spreads in different directions. Cloud shapes are difficult to control. Blue and yellow colors. That suddenly means when you are painting in the wet technique and produce green hues that seem unnatural in the sky. Do we want to know how to weight it? I'll tell you a few secrets. Hi everyone. I'm Maria cement our watercolor artists, theatre and Skype veins and fan. In this video lesson, I will tell you how the shape of the class depends on the chosen technique. I'll explain you the way I decide how wet the brush should be when I'm working, how to give the surface of the paper wet during the process. We'll also talk about what are the ways to avoid the green hue in the sky. And of course, we will apply all this knowledge to paint a realistic sounds at Cloud scale. I've chosen a challenging subject for you, but I'm sure that this practice will allow you to learn to paint in watercolor faster, to plan the course of work, to control the speed of paper drying. And as an results to be more confidence in drawing more complex subjects on the Euro, joined the class and enjoy watercolors. 2. Supplies: Let's take a look at the materials and going to use for this class. Here I have 100% cotton paper. It's Arches, cold pressed paper and I taped it to plastic board. Next, we need valid and veins. I'm going to use Naples, yellow, Naples yellow, red, French were amino, no transient, royal blue color. And one of my favorites, beans and Chen blue. You see I even buy it in the big tube. Of course we can't make this work without brush. I'm going to use flat brush for moistening the paper. Round squirrel brush can be useful for this work. I also prepared such fussy mix brush for some special purposes. The capital of synthetic brushes of different sizes of the brush around masking tape that I use to stretch my paper, paper towels or a piece of tissue. I'm also going to use this spray with clean water inside. It gives a very small drops and I'm going to use it to moisten the paper during the painting process. And of course, a cup of water. You also can find release of all the materials in class description. 3. Wet brush techniques: All right, before we will start painting this picture, I propose you to take a look at a couple of technical moments. First of them will be, is how we manage the thickness of paint to get these or that effect in the sky. What I'm talking about, look at this picture. We have soft and very like blowhards areas and also we have more defined, but it's still soft contours. Also, of course, we have a horizon line with cityscape that we can clearly see on the background of the sky. And to be able to veins Such things, we need to understand how watercolor works. In general. We need to learn how to manage our veins to make our watercolor spots more or less blood. Of course, ensure that if you watch this video, probably you already know something about watercolor. And also that you've heard about things like technique on dry and technique on wet. And probably you already watched my previous videos, so you already know something about it. But now we will talk about these techniques in relation to you, this exact picture. The easiest thing that we can do is technique wet on dry. So we have a dry paper and wet watercolor. So let's see what this can give us in our story and what it looks like in practice. For this, I can take any brush, for example, this small square brush. I pick up the color and basically four exercises I recommend to take something dark so we can see all the effects clearly. And I always use my balance, first of all to have a better control needs on my color and to control how wet, how liquid and how dense it is. So to begin, let's start painting these clouds on dry paper. So I start by trying to gain some kind of a cloud here with my blue color. And let's start from small clouds here next to the horizon line. We may have them like this. This long shape for example. These clouds come like this in form of stripes. And also the paper I have is a very textured so stroke turns out texture as well. So this can look like clouds, like more floods in the bottom part and more voluminous in the upper part. The paint is quite liquids and also the paper you see it's glistening. Let's try now to draw a larger clouds. At the bottom of our lens game, the clouds are more horizontal, more narrow, and the higher up we go, the wider they become. If I was painting more clearly, more outlines the shape. Now in the upper band, I will try to do it in a different way. I'm going to try to work with my brush. I use the same brush, but now I work a little differently with it before I painted with it T. Now I work with the whole brush. I press it to NADPH and it creates this form. So that was wet on dry technique. And anyway on leaguers, more clouds, the outline, the contour of the cloud is always quite clear. But if we take a look at our picture, we realize that this technique doesn't work for us because everything here is actually very smooth and soft. So the question is how to get such soft contours? For that, we're going to use the second very common technique which is called wet on wet. So let's take the same branch with the same color, but we will moisten the paper before we start. By the way, wet and wet doesn't necessarily mean of paper wet with clean water. It's possible to draw on some color that we previously applied. So for example, here you can see I have some dark spots, but they lay not on the white paper but on the background and I already painted. So let's, for example, make the background too to see how it works. So now I take another brush and I paint. Orange sky. So here we can try to paint the sky background and also practice painting clouds. For these, I take Naples yellow and a drop of orange. But I will start with some clean water first because I paint on cotton paper. It's the same paper that I'm going to use for my final painting. And I recommend to you if possible, to practice on the paper on which you are going to Bain's, so you will understand how it works. Now the vapor surface is shiny. I start painting the background. It will be more yellow in the bottom part and a little bit more red on top. And leave the excess water on the napkin because I don't need a lot of water here and just paint. I just want a shiny paper surface and see the surface is shiny so I can start painting. And now let's try to repeat the same things that we did here, but with a wet brush on wet paper. I'll start with big spots. I guess. And I try, I try to do the same brush movements. And my brush is very wet. You see how much water I have on my ballads 3D, 3D liquid veins. If I see that it's too much, I always can leave excess water on my napkin. And you see now how the paint is running. It's because I work with whet color on wet paper and gives a nice results, especially when we think something big like that. But once we start painting something small in this technique, we placed them. Very common problem. So here we start painting on the weds and we wants to draw a clear clouds. So we start adding details and then everything starts to flow a lot. So we wanted to draw like to pay in such clear clouds bad, we get hedgehogs or like flowers. And how to deal with this. We will see next. So this technique is good for a smooth transitions. We can always adjust something here, make it look a little bit better, but it's hard to fight. And these one. And by the way, uh, what else we can do here wireless to have wet paper. We actually had like a first layer, Second layer, and now we can add a third layer, for example, for shadows on the Cloud. For this, I will take a darker veins. So i makes indenture and blue with natural teens. And I add this mix to cloud. And I use the same like wet paint on wet paper. But this thing is harder to make. So let's see how to paint this cloud buds on wet. For that, we need to learn how to make our brush a try. So using the dry on dry technique. 4. Dry brush techniques: We need to learn how to make our brush a try. So using the dry on dry technique. Of course, the crash is not like completely dry. It has some paints on the it. But once we take just the small amount of water and a lot of pigment, it feels more like almost dry brush. And this brush will give us such effects, especially it's clearly seen on textured paper. You see. And the same for this cloud which is here. But I think that's, you see that it doesn't fit as it can work well for painting, mood texture or stones or maybe like water splashed or something like this, but not for our soft shape of clouds. So what are we going to do now? Now, we will try to do the same that we did here. But instead of working with whets brush, we're going to use our dry brush, but the paper and this time we'll be wet. And I remind you that wet here is not talking paper. It's just like glistening surface of the paper that's hit. So I take the same colors again, Naples, yellow and blue bit of threads. For the upper part. We have a shining paper surface. Hopefully you can see it. And now we have a background. Paper is shining and the branch is dry and ready to work. So you see how it looks like. And now let's try pains clouds with it. If at this stage you still see that colors running, you always can use your paper towel to put excess liquids on it? Well, probably I had to leave more time to my paper to soak up because color is a little bit running cell. But anyway, I think that's you see, you can see the difference. So you see even though the brushes dry, it's still gives kind of a wedge effect, but all the contours are more defined but still solve. I could also try to paint this big clouds with my dry brush. Let's see what I may get in this case. So you see when I use dry brush, I get more defined shapes, but also I have a trace of the brush on the paper and I prefer to have it like more soft and more beautiful like this. So maybe this effect doesn't work for everything. So when we want to make it really soft, be clouds, probably we should use a wet on wet technique. So what I'm trying to say that in our picture we will have both wet-on-wet for big elements and dry and wet for more detailed clouds. And of course, wet on dry for the Suez of the CD. Least techniques, especially this one, allows you to control the shape of the watercolor spots when you work with paint on wet paper, which is very important, for example, now, I can add more shadows here. So the same thing again, I just blended some very dense color and now with dry brush, I can add some dark shadows to my clouds. And they will be quite clear because I'm working with a dry brush. But now let's try to see what will happen if l take wet brush and try to add something, because this is something that happens very often and very often mistake. And I prepared such a bland, which seems to be very dark, but still very rarely quiz. So I start to add this shadow and you see what's happening like in the beginning, it seems very dark. But then because of the water that I added right now is like more liquid than the one that stays on the paper. It starts running and push the pigment and gives like very beautiful effects. So these are very important techniques. Keep them in mind and use them in your work. And if you're not familiar with this one, or if you're not familiar with that one. The first is better to practice and practice on the paper on which you're going to paint in future. And then analyze the future picture, look at what parts are made in what technique. And then with knowledge of this, start working. I hope everything was clear and now this part will dry up and I'll show you the result of this mistake. And then we'll continue the exercise. I've dried the paper a little bit and look what happens if we don't use dry brush as it was here, but wet, all this water spreads out and you get this effect. Not the most beautiful. That is, it may be beautiful for some other subjects, but I don't really want to see it in the sky. So it's very important to use a dry brush to apply the shadows, especially if you see that the paper is already drying out. And now let's go to the second exercise. 5. How to avoid greens: So there is another question that I wanted to discuss with you before we will start our painting. This is the question of colors. How while painting wet on wet, using yellow and blue in the same picture, not to get greens, which is normally appears. I have several answers to this question. First of all, it's not that bad. Take a look at this picture. In general. I really think that we have some greens in the painting, but we also may have them in the photograph. For example, here you see it in some places it really looks green, but the picture in the whole, it doesn't look bad. And this greenish tint, it also may deal our picture. This sort of really isn't that sometimes is missing. And of course sometimes we just don't want to get greed in the sky and there are several ways how to get it. The first method that I use quite often is just not to let our yellow to touch the blue in the same work. So how I'm doing it, for example, I can leave white clouds between my blue bard and yellow bars. This is the first option. And second thing is, for example, I can put something in between yellow and blue. So not just leave empty space bads, put some color in jails. And well, logically, this color will be something like red or orange. Because touching these colors, blue doesn't give any greenish tint. And like this, we just avoid making green bad in this exact painting, I wet another way, which was a little bit more complicated. So first of all, see here there are elements where there is white and then yellow and blue, and they don't really touch each other. Moreover, Of course I have some spaces where yellow touched some kind of a called Teams. But this blue or called is not really like glue. Comparing to this one, it looks more like gray and this color is more neutral, so it doesn't give any gradients. Also, notice that I use two different yellows. First of them gives more green, then another one. And this is the question that I want to discuss now. So where these green comes from and how to avoid this thing by using a nice mixture of colors. So as diving from this scheme, we see that green comes from primary colors, yellow and blue. Once in the painting, yellow types, blue, they give a green color. And depending on what kind of blue and yellow we use, we may get more saturated or more neutral green. So how to avoid this? So first of all, instead of yellow, we can take orange, which lays in the opposite side of this key, to the blue color. And when you mix down with each other, they give us neutral color like gray. So for example, in case where blue touched orange in the picture, which is actually very common case for my paintings. We don't get greens. We have something neutral, more like gray or it can be more warm gray, it can be called or gray, never mind, but it's neutral. For example, if you don't want to get rid of yellow, we can replace blue with something else, like something which will be opposite to the blue on our color circle. And so we take violet or purple color. And when we mix colors, we will get also something neutral, more like gray or at least not green. Another way to get something neutral like gray is to mix three basic colors, yellow, red, and blue, how we can use it. For example, you still want to keep your yellow and blue, but they are mix. It gives something like green. And how we can neutralize, we just need to add something reddish into the blend. Like this. We will have a mix of these three basic colors, blue, red, and yellow. And we will get something natural, more calm and like less green at least. So let's take a look at the example. So I take my Naples yellow, which I'm going to use for the more yellow pile of my sky. Then I add a drop of indention blue there. So I get something a little bit greenish. And if I want to neutralize it, I just put a drop of red into this mix. So something like warm red. Now I already get quite neutral teens without any green. So if I want to use this basic colors I wanted for like clean parts of the sky. I can mix them with each other and just neutralize this greenish mix by adding some red. Actually the same logic we just discussed when we mix blue with orange. So we just know that orange is a yellow plus red. So if we want to neutralize some blue, we just need to add mix of yellow and red and you get some kind of a natural teams. But here it's important to say that not every orange like ready-made orange color will give you nice gray and being mixed with blue. So here it's important to you analyze its, you try to test your ballot and to choose your colors for your special needs. For example, here, if I take ultramarine blue and cadmium orange, I will get nice, really good looking gray. But if I take, for example, Stella blue and something like gold, orange, I probably will get a greenish color. So depending on what exactly you want to see in the sky you painting, you pick up these or that combination of colors. And this is the logic that I used for choosing my palettes because I paint skies quite large. And let's why you almost see no yellows here. I use only one yellow, which I apply for a mixing greens for landscapes, and also I have to another yellows. But you see that they are both Nepal's yellows. One is more lights, and the second one is more orange and warm color. They are not just random colors. I use these colors quite a lot. And for me it's important then these colors, they mix well with blues. I mix these colors with another colors that I used the most in the sky. So it's interchangeably ultramarine blue, pink, and purple. And then I just picked up colors where I have the Most know TRO blend as a result. And in this work today I'm going to use these two colors. So Naples yellow, which is here, and these Naples yellow, red, which will be somewhere here and there as an orange color in my painting. Of course, he can replace this color with another wines. And it's just, if you see that this yellow always gives you a green, just add something red and orange to the blend. What do you need to do before you start painting is just check what kind of a mix color will give your blue and a warm color mix with each other. So I hope it was clear. Now you understand more how to white green colors in the sky. And for this dark spots, I will explain you later what colors I mix for this. So finally you got the theory about colors and about techniques. And I feel now that we finally can start our painting. 6. Sky. Part 1 : Preparing paper and colors: So never mind how a dry our brush will be. The paper should be wet. So it means it's surface should be glistening and it should stay glistening for some time. So I prepare my paper, but it's not enough just to put some water. We need to let it soak up the water so we need to wait until the water goes inside the paper. Plague these, it will stay wet longer. So I put some water to the paper surface and I leave it like this. Meanwhile, I'll use this time to prepare my colors. You already know what paladin going to use. So now I'm just prepare my colors. I always keep some scrap paper for color tests. Okay, I think it can be enough for this guy and maybe I will just add something later. So I also can prepare either way, some mix, dance and thick mix for, for my clouds. So I'll take insulin shrank Leo, drop of natural teens, which is really creating nice dark color. And also I can add a drop of Naples yellow there to make it a little bit lighter and to neutralize the color. Sometimes I prepare them beforehand, sometimes I do it just in process. It depends on work and how it goes. Anyway, I think I will need more color during the process. But it's always better to start with some amount of color on your palette, just not to waste the time for color mixing while you paint. And also this is a good time to think about to meditate before you start painting. Now, I'm adding more water, especially to the upper part because I'm not going to paint shear right away. And like the master of the work or we're going to go in the bottom parts. I'll start with the bottom part because there are more small details on the photograph here and in the upper part, everything looks more blurred. So I will start from bottom part and I will go heparin that birds during the process. Beforehand, I will remove the water that was last on the ends of the sheet with a napkin. So that's this one. It doesn't flow back into the ocean during the work process and no water stains appear. And now I think we finally main starts. 7. Sky. Part 2 : Background: I will begin with small crash and yellow color. So Naples, yellow, which is more yellow than red. By the way. This kind of paintings, I really prefer to pains standing up because first of all, I clearly see the picture. And second I have a much freer hand, so I'm not leaning on the table and it's kind of easier for me to make some spontaneous movements. You know. I really recommend you to try ads, especially if you never did before. Now, I'm focused on the lightest part of the sky. I don't pay any attention to the clouds and just looking at the background I have. And my goal for the first stage is to leave white, white, and to put the light colors in the places where they should be. So in my case, a light color is Naples yellow, red, and my Naples yellow. And you see one is like more orange. Second one is more yellow. And I will, I'm going to combine them. Here. We have the sun and everything around it is mostly whites, so I don't paint over this area too much. Maybe stay luminous. And I also keep some white here. Of course, making a copy of the photograph is nons my purpose today, but anyway, I'll try to paint as close to. It's because I really like this shot and I think it's really nice one. Then I notice that the edges of clouds, they have a kind of a warm color. I guess I can cover all this area with the yellow. And here as well. There is also part of the sky here. It's not why this more like gray. How do I make it? I take Naples, yellow and blue that I prepared for this guy. And I put it in, the color will be so slightly greenish because there are different kinds of novels, human yellow here. And in fact, that's the color I want to get its normal color for the sky. Then while this area is still wet, I can switch to this place, to this blue zone, or maybe not. Well, first of all, I will take a big brush and making nice wash here. I take warm Naples yellow with something red inside. And I put the color here. So this whole area using this kind of a round. So Oracle or crush movements. Here I really can work with quiet lots of water. And they also tried to keep some white areas because there is the light there. Naples yellow again with some red. I can even add more rad two now to create the connection between these parts. So first, I fill everything with yellow and then while attention here it's getting dry. So I take centric the brush and I will do a very fast, this blue, this blue part in this area. What I need is just to put the color and to leave lights edge of the cloud. Also, if you see that in some areas the paper is getting dry, you can use a spray and add some water like very, very accurately. So now we've wet again and I can continue working. But the color is running, so be careful you don't need to add too much water. I keep white paper here and there to have such a lightning atmosphere because I really like it. And of course to paint the light, I need to add shadows. 8. Sky. Part 3 : Shadows: And of course, to paint the light, I need to add shadows. So now I prepare a dark color based on blue that I used for the sky. I add the drop of Naples, yellow, red, and I get this kind of a gray neutral color. And then I just started with the driest parts. So I take another brush and I will start with something like more orange. So Naples, yellow and drop of red. And I will start to work Around, around the sun. Just make sure that your brush is dry enough. You see I took synthetic brush. It's small so it doesn't really like sake, a lot of water. I will add more red I guess. And of course I really interested in these zones, so I'm going to add clouds now. So I take this brush with this gray color and you see I put extra water to the napkin. Painting clouds. If we see some green, you know, already we just add a drop of red so the color and becomes very neutral. And how actually painted you probably you may ask me, but what I'm doing is just a watch and the phonograph. And I keep this small yellow edge. And I tried to repeat the shape of some clouds. There is a dark shadow in the bottom part. Now I take more neutral color. There is a dark cloud here, so I just put the color like that. And here I can make in this way, you know, just in the direction of the light. I make some kind of a, some beans or something. And I complete this cloud. And the shape is quite complicated, but this is like specially I'm doing for you because like this, you have this challenge. You have a subject to practice. If you feel like it's too green for you, you can use purple color instead of blue, for example, if you feel so. And look how the color looks like. It's very dance, they're very thick, like creamy texture. You see exactly this texture allows us to get such effects in the clouds. So I just keep painting, adding some small details. Always take a MOOC that everything is still wet, so it means that you keep fainting and don't forget if you see your watercolor running. It just mean that she needs to make your brows dryer. I'm okay about such a fluffy clouds, but if you don't like you just, you know, try to control the amount of water. Now I'm working with synthetic brush, but actually this work could be done with nato a one as well when talking about it. Because when you paint with synthetic brush, you can see like more trades, like more brushstrokes in your painting and it's not bad, it's not good. It's just like you know the thing. And if you want to make it softer, use nitrile brush for that. Here the papers getting dry so I actually can't pains anything here. 9. Sky. Part 4 : Finishing shadows: And I guess now I will take natural brush or with a small size its software so I can work like more gently on the paper. But be careful doing this because nature brushed, it always holds more water inside them, the synthetic one of the same size. So it's really hard to control and really laugh to re moisten the paper here, but I'm really afraid that I will ruin the background here. So either really want to wash it away again, and I will just keep it like this. I want to add any water here. Not with spray. Like not anyway. I will only keep painting in the places where the paper is still wet. Maybe just here I will add some water and that's it. Even though water drops from this spray, I really small, but still they can be visible. So really be careful doing this. And I also will add the shadow while still remember about it. Here we have small clouds and rains down with this small brush movements. Really, really like many small Dutch. Then I add more contrast here and guess it would be nice. I don't cover it entirely and just leave some white here you see? Meanwhile, I ran out of color on my balance, on my brush. So what I need to do now is I need to mix again in the trembling and from teens. And maybe that's it. I will add some water because I want my color to be more Running. Notice how the blend looks like now. It's it contains more water and it's more running, you see? And it's not very dark. I also can add some red into the bland, but it's up to you, you know, like it's just about time and ongoing. Back to the bottom part. I will leave it like this because the color is really dry here and the paper is not happening anymore. So I only keep painting on shining paper. Speaking of which, it would be better to add some shadows here while it's still a little bit wet. And here I have a nice curly cloud and make it was almost dry brush and I left all the excess water on the paper towel. So now I'm just like mixing the color on the, on the edge to have a nice gradients. And now, while some zones here are still a little bit wet, I'm going to add a like my famous contrast which I need for light feeling. So just pay attention that we still faint on wet. Here. It's also a shadow. And the dry beriberi is in some area where I'm painting, the dryer should be the brush here. The paper is almost dry, but I still really 1s two panes here. So I take Greeley dry brush for that. So you see on the paper, It's like really, really dry. But on the wet surface, it still gives a nice effect. So now what I want is to create the connection between these parts. So I add more dark blue and natural teens. Because you see, while the color flows, it's becoming a much lighter and it's not that expressive. So I will add some more shadows here and there. What else we can do here? For example, you want to soften some parts. And for that we can take a dry brush like very fluffy one. And to use it gently for such a purpose, I hardly touching with the, with the tip of this brush, not like very, very gently. And it gives me a nice, nice gradient here. Um, but don't do this too much because sooner or later the brush will become wet and it will start bringing pigment in places where you don't want them to be. So this is the sky we have. So beyond the wet part left is this upper one. And this is the only place where I can add something like contrast. And of course, at this stage, I can't add water even with this prey. So the only thing that I can do is just add some shadows. And so probably I will do this. So again, very dry brush, very thick color. And with this sort of brush, I can still play with contrast here, there. And in this quarter as well. Well, now I think it's enough of a contrast. Maybe I will apply this brush again here, but very delicately. And if you don't really understand how it works, better, just done like not to touch it. And the last thing here. So this is why we have, maybe it's not like very organized or structured as a sky, but I need to keep it like this. And the only thing that we have left is to paint the horizon line with the cityscape. For these, we need to dry up the work with the hair dryer or in a natural way. 10. City: Okay, here we go. Now we're going to paint the cityscape. And here it will be fast and quite simple. For this, I will take synthetic brush and you can actually use a flat brush for that if you prefer. It's actually doesn't really matter. So what I make here, generally, we just need a stripe here to cover this part of the Skype. So I blend Naples yellow with a drop of threads to get such a warm tint. Here I'm going to have a CD in this place where the orange part of the sky is. So I start with warmer color. And you can use a photo to choose some elements that you want to paint here. So for example, this kind of a tower. I use quite a good color here and Berbers to connect all the parts of the CDC Lloyd's. Now I switch to more cold and dark colors. If you don't really feel confident painting such lines with a round brush, you can switch to fled brush in 3D. Like more handy to do this with a flat brush. I didn't like when the horizon line goes down. So I make it this way. I connect these parts, some buildings and details there in the distance. Here I can paint with a warmer color to start with light color and then add darker shadows into weds color or sometime it's trying. So here you decide how to make good, just make sure that it doesn't run too much. And of course, at this stage when I add details, my brush is much drier than it was before. I give the backgrounds lighter than the foreground. I use still all the same colors. And for example, I can add more natural scenes to make it warmer. Or for example, to add more blue to make colder foregrounds. It's you decide, you choose What do you prefer. You also can use Payne's gray, for example, if you like this color. So why not? Let's add some details to the very foreground. And this part also will be quite dark. So I'll just add some antennas, some details. And here there's going to be another shadow like this. It's not like very dark black. It's not like super dark, see, so I have no need to paint the CD20 dark, especially as I have my sky not very contrasted. So I recommend you to do the same. More details here and there. I can add trees, like there is a bark there or something like that. So it's CEO decides you can paint the sea if you want. I don't know. Because it's really very, very small parts of this landscape. So I don't really pay attention to aids. And because like the whole story is about the sky here, we don't need many details either. We just have some horizontal lines that looks more or less like rooftops. And we have some vertical lines that's creates some buildings in our imagination and we have some shadows between them. So actually there is nothing very special here. So I take a look from the distance to what I have and well, I think it looks good. Maybe just a few details here and there. Maybe here. I guess that's it. So if you want, you can also add some birds or I don't know what, but it's not really necessary here. So the only thing left is to wash our brush and dry the painting. So this is something that I'm going to do right now. 11. Conclusion: Well, now the painting is completely dry. And how do I know it was dry? It feels warm to the touch, just like my desk. The paper is flat and of course not Chinese. So I can move my ballads and water aside a little bit so I don't spill it on my work. And feel of the masking tape. Well, that's how the work turns out quite realistic. You see, there is no such a set of bright ACT colors. Everything's very coulomb and a lot of gray, yellow, even a little bit of a greenish stands. But at the same time you see the work nevertheless is quite expressive and vivid. I hope that you regret about your results too. Don't forget to share it in the project section below the video. And also share your results on your Instagram page tagging me. I'll share my favorites in my stories. Thank you for joining me in this class. I hope it was useful for you and you enjoyed the process. See you in the next class. Bye bye.