Watercolor Monochrome Forest Using Color Values | Kolbie Blume | Skillshare

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Watercolor Monochrome Forest Using Color Values

teacher avatar Kolbie Blume, Artist

Watch this class and thousands more

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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

12 Lessons (1h 27m)
    • 1. Intro

      1:18
    • 2. Materials

      5:45
    • 3. Color Value

      7:55
    • 4. Color Value and Trees

      7:23
    • 5. Painting Trees

      10:49
    • 6. Final Project: Background

      10:47
    • 7. Final Project: Layer Two

      6:46
    • 8. Final Project: Layer Three

      6:00
    • 9. Final Project: Layer Four

      5:38
    • 10. FInal Project: Layer Five and Recreating Value

      4:52
    • 11. Final Project: Final Layer

      15:00
    • 12. Recap

      4:30
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About This Class

Learn to create a stunning wilderness forestscape using only one pigment! In this class, we go step-by-step through all the techniques you'll need to create layers of a deep, full forest--perfect for any wandering soul. 

This is a beginner-level class--no prior experience needed. It builds on my previous classes, but you can also take it as a standalone class. 

Meet Your Teacher

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Kolbie Blume

Artist

Teacher

 

 

If you're pretty sure you're terrible at art...

...you're in the right place, my friend. 

 

 

Hi there! My name is Kolbie, and I'm a full-time artist, writer, and online educator -- but up until a few years ago, I was working a 9-5 desk job and thought my artistic ability maxed out at poorly-drawn stick figures. 

In my early 20s, I stumbled on mesmerizing Instagram videos with luminous watercolor paintings and flourishing calligraphy pieces, and ... See full profile

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Transcripts

1. Intro : Hi, My name is Colby, and I cannot wait to get started on this monochrome watercolor forest with you today. I love watercolor, and I love exploring what it can do. And so this class is all about exploring what it means to change the value of a watercolor , which here's little teaser means the lightness or darkness of a single pigment of watercolor. And how you can use that skill in those techniques to create breathtaking forest views. And through the class we're going Teoh, go step by step, creating a piece that looks just like this, Um, going from light to dark, using the tools and techniques and materials that I tell you. And by the end, hopefully you will have a stunning wilderness watercolor piece that you are really proud to call your own. So, uh, without further ado, why don't you move on to the next video where I talk about all of the materials that you're gonna need and let's get started, Can't wait 2. Materials: Welcome. Welcome. Welcome. So before we get started, I'm going to quickly go over all of the materials that we're going to need to be successful in this class. Okay, first and very important. The kind of water color paint you decide to use. I would always recommend, uh, purchasing professional watercolor paint artists grade paint because you will get much more vibrant effects if you use professional artist grade watercolor paint. No. These are not the only kind of professional watercolor paint out there. I also use prima watercolor confections. They are slightly nicer on my bank account than these guys. But these guys are a little bit higher quality. So this is Windsor Newton. This is Blick artist watercolor. And this is Daniel Smith. Extra fine watercolor all over them are great for this class. We are doing a monochrome forests, so I would just pick one color. And I gave these examples pains grain into go. And in these two browns, because I really like those colors. But for this class, I am going to use Prussian green in Daniel Smith. Extra fine watercolors. Okay, so that is paint. Next. You will want to palate because in this class. We are also going to talk about value, color, value and what that means and how we can use that to create magical a deep, misty forests that just go on for miles. OK, next paintbrush. So if you've taken any classes for me, you will recognize he's paintbrushes. They are synthetic sable hair. Um, the U trick do you tracked Brand, which I believe is sold exclusively at Blick art supply stores. I like the round size which just determines the shape of the brush and on what direction the Brussels go in. So I always get round. And for this class, I will be using a number around number 10 and a round number zero. You could also go lower than zero if you wanted what? I'm going to you zero for this class. So And if you a case you are wondering, I think there are a few different kinds off. Um, you tracked synthetic sable hairbrushes, thes have a black handle and their Siri's 2 to 8 to 28. So I got these at my local Blick Art Supplies store Round number 10 and round number zero next, uh, equally important is paper so thes air. My typical go to guys. Um, the top two arches and Blick Premier Watercolor block are both professional watercolor paper which, uh, the difference between professional and student grade watercolor paper is the material. So professional grade watercolor paper is typically made of 100% cotton, which makes it more absorbent, and it makes your colors just appear more bright. And, um, it can take more washes of water than student grade. I found for landscape lettering, but they do come with, uh, with a price tag. So in case you don't have access to professional watercolor paper, I'd also recommend Strathmore student grade watercolor paper or a cancer in Monte Ball watercolor paper. So always, you should have at least 100. The weight should be at least £140 which means that when there are 500 sheets put together , they all weigh £140. In case you're wondering what that number means, anything less than that. And no matter how professional are not professional, your paper's gonna buckle a lot. It'll buckle a lot. It'll buckle of it regardless. But £140 today for this class. I have a five by seven inch um, piece of Blick Premier watercolor block paper. So this is professional grade watercolor paper that I'm going to use for our final product . But while word was practicing, this is my note book of cancer and Monte ball. Aw, quarrel, watercolor paper. Um, and I just got this on Amazon. They probably also sell them a local art supply stores. You might recognize it if you took my aspen tree class. I used it to practice in that class two. So that is my plan for paper. And it's always a good idea to have two cups of water, one to keep dirty and one to keep clean. Uh, toe, Have we already talked about the call it and then I just have my trusty paper towel. So these are all the supplies that we're going to need for this class, So why don't you gather them up? Oh, I forgot one thing. I do all of my drying with this, uh, Therese heat tool that is traditionally used for embossing. But it really is. It's like a really, really hot hair dryer and with a smaller nozzle. So it's more compressed. Um, I use this to do all of my drying in between, which you will see as we go along the class. So thank you for watching this video. Let's gather up all of our materials and get started on color value A a. 3. Color Value: Okay, so you've hopefully gathered all of your materials, and you are now ready to get started on painting this forest. But before we go before we have right off, we are going to talk about a very important technique which is manipulating the value off the color that you're using. So as I mentioned, we're only going to be using one color in this class. Um, for this piece, I'm gonna be using pressure and green when we get started on the forest. Um, and the way that we get the forest toe look magical like it does is by manipulating the value of the pigment that we're using. So value is essentially the lightness or darkness of a color of a pigment. And it's the lightness or darkness of a true pigment. And the way that you get the value is by adding water or pigment depending. And it's very important that to distinguish between the value and the tone of a color because we're not changing the tone, Um, which is when you add another pigment to change into a different color slightly darker, right. So we're not adding black to this red to get to a darker red. We're just adding the purest, most can most dense form of the pigment to get to this dark color and then adding water to get it to be as light as possible. And this can probably go even lighter. But this is just to demonstrate to you the range that your individual pigments have and how you really only need one color. Teoh get started on these on these forest ranges. Okay, so first thing that we're going to Dio is take the number 10 take your number 10 brush and dip it into the pigment that you're using. Now, I told you that I'm gonna be using Prussian Green Daniel Smith pressure in green. So I'm going to dip it. I'm gonna I'm mixing some water in here. This is one of my palettes and mixing some water in here and I want it to be right now. We want to get as much pigment as possible. So we want we're starting off dark and then going light. And that's in my experience much easier to start off dark and then add water to get slowly light. Okay, So I wanted to almost be thick like a paste at the beginning rather than, uh, liquidity like water, which is how we normally like watercolor because I wanted to be his dark as it can get. Um, see, So like, this dark pressure in green, it's almost black. It might have here black in this video rather than green. So I'm just gonna like I'm starting off with as dark as I can get on it slowly getting lighter But I see that I'm the pigment The pain is starting to wear a little bit thin So see that means is there's not enough water. So I'm just gonna dip in my ah, in my dirty water cup once and take off the excess water. I don't want too much water on my brush, but I'm gonna dip once to keep going. I don't want to take off all of the pigment because we still want it to be this nice, monochrome blended. And just for the record, uh, the way that you're going to get it to be really nice and blended is to manipulate it a little bit as you go along and we talk about a little bit about that in my night sky skill share class, Um, which is all about value in monochrome. Um, so I only up until this point, I only dipped in water, like once or twice. But now I have taken off all of my pigment on on Lee have water, because over here we want to be the lightest we can get it right. And right now, this pigment is slowly starting to eat its way into the lighter part. So I'm going to take all the pigment off my water brush again. And sometimes it can be tricky. When you've loaded it up with pigment on the other side. I'm gonna take it off, and I'm going to start with clean water on this side and just kind of push it over here, See how I did that, and it's gonna want to come back. And so you have toe move fast. I cleared all the pigment off of my water again, and I don't pushing it down over here. And just remember that when you move your brush toward where there's pigment now, your brush has paint on it again. So don't paint over here because it's going to get it all dark. Um, either keep painting and try to get some of it off over here. Or I'm like, I'm about to do wash it off right now and just kind of manipulate this blend a little bit more, right? Okay, so on that, like, you could do this all day to try to get it as smooth and as blended as you want it to be. We don't have that kind of time. So that is you have just successfully. If you were doing this along with me, you have just successfully tested the value range of the pigment that you're going to use, right? So this is like, the lightest it can be, and it can probably even be a little bit lighter than what we have it right now and then. This is but should be assed, darkest, the darkest that it's gonna be. And then everywhere in between, um, the different values will signify, signify different layers that were going Teoh utilise to make that forest. Okay, So before we sign off of a really important, um, thing to remember is that light means far away and dark means up close. Okay, So I'm just going to show you this forest painting again so you can see I have my My back row is really, really light like you can barely see that it's there. OK, And then my front row is dark, the darkest I could get the pigment. It's all one thing. I didn't add any black to this. It's all one color, but, um, the background and the back trees are really light, and they slowly get darker. And that's manipulating the value. Teoh, um, to indicate depth. And that's what we want when we create a forest like this. Right? Okay, so that is it for this color value video. We're gonna definitely talk more about this as we go on. But right now, I want you to practice getting as much like testing out the value of whatever color that you want to use. And if just doing this one thing like if you want to practice more than just this once that we did, please practice as much as you want before we get started. Okay? So when we move on to the trees in the next video, I'm gonna talk a little bit more about how the value will apply to the trees that we need that we're going to paint. But right now, just remember light means far away. Dark means up close. Light means far away. Dark means up close. Okay? I think we're ready. Can't wait to see you in the next video. 4. Color Value and Trees: Okay, so we have already talked about color value and made a color value scale of whatever color you have decided to use for your monochrome forest. And now we're going to talk a little bit about trees. So for this video, I would pick up your number zero or small. Whatever number you have, there's your small paintbrush. Um, because we're going to first talk about how color value relates to trees, and then I'm going to, like, go into detail about my techniques for painting trees. Okay, So if you have seen my other misty forest video where we make a bookmark and the misty forest is a little bit, um, more slanted and not so much on top of each other, you will recognize this little work paper, working paper where we talk about the depth effect. Right. So I didn't describe it plainly in terms of value in that video, but we're going more deeper and into it today. So remember, in the last color value video, we talked about how lighter trees are farther away and darker trees are up. Close, right. Okay. Lighter trees are farther away and darker trees are up close and Then on this little sheet , we have these different swatches thes air all the same color. And we're going to talk about that later in this video. So in order to test the value when we when we made this value scale, we put all the pigment on the paper first and then made this scale right. But in order to get trees to be different colors, that won't exactly work. So that's why we have this trusty palette. Whatever kind of palette you use doesn't matter doesn't even have to be real palette. It can be a piece of, um, like it could be a lid to a plastic plastic container. It could even be a Ziploc bag, though I don't recommend that would be tricky. But my point is, you know, it doesn't have to be one of these artists problems. It can be anything that has a surface good for blending. So what we're gonna dio is take a little bit of pigment. I'm using this Prussian green Daniel Smith Prussian green, take a little bit of pigment and put it on the palate, and we want to get it as light as we can. First of all okay on the palate. So I'm removing the pigment. I'm removing the pigment from its place in my original pallet where I normally go to get my paint. And I wanted to just be so so light. Okay, Like so light you can't even see so light. It looks like water. Almost so. And along the way, you might say, Well, how do I know if it's light enough? That's why you have a piece of paper to test it, right? So I'm just going to put a little swatch right here, and that's pretty light. I'm going to see if I can get it just a little bit lighter by putting more drops of water in here. So that's the way that you, uh, as we talked about before. That's the way that you break down. The value is by adding water, diluting the pigment so that it becomes lighter and OK, I think that's pretty good, right? You probably can barely even see that. So now that I have my pigment, the lightest I want it, we know that the dark, the light trees, air in the back, right? So, like I said, we're going to talk a little bit more about the structure of trees in a little bit. But first, I just want to show you how we did it in that other paper. I showed you eso I'm putting white in the back. Okay, so those two trees are very light. All right? And now so I know that this little puddle I have right here is this color right here. So what I'm going to Dio is move some of this pigment over here. No, all of it. Just some of it. I'm gonna move over here. Okay, So this is now my test pigment, and I'm going to dip my paintbrush in the pigment one time. So in the pigment meaning where my original water where my original coloring is right where it's the darkest that it's gonna be. So I dipped in here one time, and I'm gonna mix it with this very light pigment and test it out to see how much darker it iss. All right, there we go. So it's just slightly darker, you see? And when we layer this slightly darker pigment on top of this other pigment, it might when you load it on really thick it might look like it's darker than actually is, but it's gonna dry. Probably lighter. So I'm just gonna paint a few trees right here and again. We're gonna talk about how to paint the train just a second. But this is basically what we're doing for the whole painting. So this is not the last time you'll get to see me do this. I mostly wanted to demonstrate how to change your value a little bit out of time, right? And how to change your value in reverse. So instead of starting with the darker pigment, how to start with the lightest you can get and get it to go darker. So each time we make a layer, we dip in the dark pigment once and then mix it in this part. So I've just made a darker 1/3 time, and I'm gonna put that next to next to these guys. All right, you see, And this is exactly how I did it with the painting, and that's exactly how we're going to do it as we continue on. So this is the video on color value on pallets and starting with the lighter color and moving to darker solely by adding water. And we have demonstrated with these trees. And in the next video, we're going to talk about how to paint the trees. Okay on. Yeah. So why don't you practice adding pigment in your palate and mixing Teoh get the different shades and swatch ing, and that's what these are. That's what it's called when you take a little bit just to test out the color. You've made a swatch of that color. So what we're doing now is testing out and swatch ing out our colors to get incrementally darker because we start out with the light and get in currently darker. That's how we move in the layer in the painting. All right, so practice that and then when you're ready, move on to the next video where we talk about forming the trees. Okay, I'm excited 5. Painting Trees: okay, in this class, we're going to talk about how to paint the trees. There are several different techniques that you can use, and I go more in depth into specifically three kinds of techniques. My so professionally named lines, swoopy and blobby techniques for these pine trees in my, um, other misty forest class. So if you're interested in learning a lot more about these techniques, check out that class. A lot of the things you learn in that class are useful for this class and wilderness watercolor painting in general. But in this class, I'm going to talk about a slightly vary ated version off the blobby technique. So just as a recap, uh, in case you don't know what the blobby technique is or any of these painting techniques, really all of them start with painting the trunk. Oh, so you have to you need your It's very important that you use your small paintbrush at least like minimum. It should be a number zero. I think that should be the biggest it should be. But you can probably ah achieve similar results with other sizes. You just It just takes a little bit more work. So um in order to make the pine trees look really delicate and have the detail without necessarily having to, you know, go through and paint all of the pine needles and make it look really detailed because this is kind of simple, more abstract, loose watercolor. You need that A very small paintbrush, and you need not a whole lot of pigment on your on your brush. So let me show you as an example right now, I have loaded up my paintbrush with pigment and you might not be able to see, but my brush, the tip of my brush is significantly bigger than when it is without pigment on. And even when I put the lightest amount of pressure, I still get a really dark, thick line. And I don't want that. Okay, I I mean, in my experience, painting pine trees. I like it much more when I can get it thin. So how'd oh, I achieve that? Well, you definitely still need to load your paint brush up with pigment. Okay, But before you start painting, I would just take off a little bit by painting strokes onto a pallet. You see how when I do that it takes off some of the pigment. Now, I might have taken off too much, but it takes off some of the pigment so that the brush tip is significantly smaller and probably the size that it normally would be. OK, so amount of pigment, an amount of water is the first mistake, right? We want that one. Okay, um, second is pressure. So I put barely any pressure when I do the's pine trees. So I'm, like, barely touching my paintbrush to the paper. Okay, So pressure and pigment are the two things right? Okay, So remembering those things my slightly vary ated version of the blogging method. All of my pine tree methods began with painting the trunk and you paint it a very You paint a very thin line. Okay? And remember that you want the top of the line to be showing, and so the top of the line should always be the thinnest if possible. So you want a very thin line for the trunk, and you want it thin and if possible, you also want a little bit lighter. Um, because you don't necessarily want the trunk to be showing all the way through as you paint the rest of the tree. OK, so we have the trunk and the regular blobby method starts out by. I called the blobby method because I don't really know what else to call the movement that you make with your paintbrush where you start in the middle and you just kind of blob your paintbrush out like that. So for the blobby method, the normal lobby said you would continue doing that all the way down with no like variation . And there are lots of different ways so you can make the tree is full or sparse as you want trees half varying level of pine needle on them. But for the vary aided blobby method, I'm gonna do my normal blobs at the top. OK, um but then as I move forward, pine trees have little bristles that move out right? Not so they don't necessarily just have one branch that's moving in this direction. Sometimes they have multiple things sticking out, going every which way. So that's why this is a vary, aided version off the blobby method where I'm blogging this way. But then I'm also kind of blogging out on that specific branch. So and that's what I do all the way down. I know that some people like to start from the bottom and work their way up. I usually start from the top and work my way down, but that is totally up to you. You have to figure out what works best for you because we're all different in our minds. Work in different ways thes classes, air just showing you what works best for me. So okay, Another important thing to remember one painting nature in general is it shouldn't always be even or symmetrical, right? Because that's I think what makes part of what makes nature so beautiful is that it's kind of chaos at times, you know? So, um, I only mention that because your mind naturally wants to make things symmetrical. And even as I'm saying this like my tree is not necessarily wouldn't be the prime example of something that, like demonstrates the wildness of nature. I don't think, but, um, it takes a lot of practice. Teoh actively say no. I don't want to put a branch there because I don't want it to look to. Even I wanted to look a little bit random, right? So do you see how my brush I am? Honestly, I'm not doing a whole lot. I mean, by not doing a whole lot. I mean, I'm not like making, um, very concerted efforts to do a specific thing. That's why is called the blogging method. Because I'm just kind of putting my paintbrush down and putting it down every which way. So sometimes I do it flat like that. Other times, I just kind of push it out like that. But either way, I'm making a branch, the needles, and I am expanding on it. Okay? And that's what I'm doing the whole time down here. We'll talk about this in a different class. Uh, but that has yet to be. That has yet to be out. But, um, this is also a really good way to paint pine trees with snow. I've been asked before how you get white water color, like how you use white in watercolor. And the answer is usually you use paper. You don't use white water color because watercolors transparent. Right? So you it would be pretty. You wouldn't be able to like paint ah, full tree and then paint on white unless you used not watercolor. So unless used wash or very highly concentrated watercolor or, like Dr Ph Martin's leakproof white or something like that, Um, that is opaque and would go on top of it. But anyway, that's a different. Has a different class. So right there's the pine tree and you can see the trunk still. But it's not quite like stark it to me because it's so thin and because the needles are and I'm just filling in feeling getting just a little bit more, Um, it looks like the branches are coming out of the trunk in a natural way, I think, and the way that I achieve this again is a variant and version of the blobby method, where instead of just blogging out like once, we do it a whole bunch of times to represent how these needles go every which way, and these branches aren't all moving in the same direction. Okay, so those are trees and trees can be so tricky. I really know that they can. I practice trees all the time. I remember getting so frustrated with trees and how they weren't looking the way that I wanted them to look. And so I spent a whole Saturday Onley practicing trees for, like, seven hours straight. And, um, that's really the way that you get better at thes techniques, especially when it requires varying amounts of pressure and figuring out the liquidity of your watercolor and how to get the varying colors. It takes practice, and practice is the only way that you are going to build those. Build that muscle memory and be able to paint these trees like that. So your task now is to practice this method of painting trees even if you don't want to use it. I am not sitting over your shoulder watching you paint this final project. I can't tell you exactly what method to use to paint these pine trees. If you want to use something else, go for it. But to make use of this video, I would recommend practicing this specific version at the very least so that you can have this technique down when I paint our final project with you. This is the version. This is the technique that I'm going to use for these trees. Okay, so get to painting, and when you are ready to start move onto the next video because we are moving on to layer one of our final project, which is the background. Okay. Can't wait. 6. Final Project: Background: welcome to Layer one of our final project for this forest Mountain range, this deep forest watercolor painting class. OK, so as you can see, I have tapes down my paper. This is as I mentioned in the materials video for our final project. I am using Blick Premier Watercolor Block paper on £140. It is professional watercolor paper and this particular brand of watercolor paper I have found to be pretty as far as watercolor paper goes, Um, not too terrible price wise. So I have taped it down using I mean and generic multi surface painter's tape. It's very important to use painter's tape or masking tape not only for your desks or tables to save those surfaces, but also to be nicer on the paper s so it doesn't rip up the paper when you take it off. Also important to note is I typically put my painter's tape on top. I mean, that's the bottom, but bottom, then top, then the sides. So is to avoid having all of the tape, like stuck together. When you do it, um, when you like, start on the bottom, then go on the side, then go on the top there, all layered on top of each other. And I could just be tricky. So that is some first thoughts. Second, Ah, I would recommend, um, having a scrap of paper. We're going to use it more for the next video when we start painting our trees. But this is to test out the value of your trees before you paint it on here like we talked about in the value video. So keep a scrap of watercolor paper to the side to use later. And now we're going to take our number 10 watercolor brush and to make our background, we are first going to make it monochromatic delight at the top. OK, so just to show you the example picture again, though this is bigger than or five by seven, the light, the lightest part, is going to be at the top, and the darkest will be at the bottom. Okay, so the way that we do this is the way that we made that value spectrum right? And if you've taken my nice guy watercolor class, this is the exact same thing except upside down. So we're starting with the darkest, um at the bottom, and you can either do wet on wet or wet on dry here, which means you can get the whole paper wet first. Or you can start just with the dry paper and use water to push it. This time, I'm clearly doing what on dry, because sometimes I think that's a better way to get, um, the darkest pigment at the bottom here. But my one caution is, it can be trickier. You have to go fast, because if the paint dries, it's a lot harder to get the line of dry pain to go away. That's why in my night sky class, which is probably more like a beginner class than this is, although you can be a beginner and do this too. But I started with that class for a reason. Um, it's a lot harder to get dried lines when you start with wet on wet paper. But for this class, we I did wet on dry. You could do whatever you want, though, whatever feels best for you. So what I'm doing here is exactly what we did with the color value spectrum I. For a while I just pushed my pigment out. But Now I'm starting to take my pigment off of my brush. Not all the way necessarily, but enough so that when I push the water up there's Onley, the lightest pigment left when I push it all the way up to the top. Okay, so and I just do that layer by layer and it takes practice in order to get it to be a smooth as you want it to get. But I will say for this class we don't necessarily want a really smooth radiant. We want to show layers and layers of trees, right? And even though we haven't formed any trees yet, the background can be like misty trees. So it looks like the bottom of my paper dry just a little bit. But I want I want to re wet it just a little bit because our background is not quite done. OK, so using the wet on wet technique with the paper. So we're like re wetting the paper even though it already has pigment on it. We want to re what it just a little bit so that we can create some layers in the background that can help with the depth effect Now, you don't have to worry too much about these layers because, honestly, you won't be able to see them that much. Um, at least not so overtly as you will see, the actual trees thes air, just Teoh leads are just preparing little details to make the effect that much cooler. Okay, so what I'm doing now, I have kind of re wetted my surface and I just want Teoh. I'm getting a lot of pigment and I'm making the bottom really dark, and I'm not going in any kind of pattern or direction. I see the painters come off a little and the tape is comfortably here, so I'm just pushing that down. There will probably be some paint that drips over onto the paper, but that's OK. So I'm just letting the watercolor do its thing now that I know that this paper is wet again, right? Because I just re wet it so that I'm right now. This is me using the wet on wet technique and watching the paint kind of move along on its own. I'm adding just a little bit of water because some parts of it has dried a little bit, but I want to make the bottom, like, really, really dark, because that's how dark the trees were gonna be. I want it to be so dark. It's almost like the trees are disappearing into the bottom. Okay, so I'm trying to get as much pigment as I can on the bottom, first of all, but not in a straight line. Right? Notice how I'm not doing it in a straight line. And that's because I'm trying to mimic the um, what happens when trees are all closer together like that in a mountain range in you're looking at it from far away. It's so dark that it's almost like you can't see it, but it's also in nature. So what has to be a little bit chaotic, right and chaotic, meaning there's not, like, necessarily a pattern. So I've put in the dark, and now I just want to make sure that the pigments up here are also not quite so smooth as a greedy int us say we did in the night sky class and the nice guy class. We wanted to be like a smooth as possible, right? So it's like it's barely noticeable. It's a little bit more water up here than I want, so it's barely noticeable when it changes. But up here and we've already started, you can kind of see layers. And so, by manipulating the value, I still have my palate over here with some light value and doing what? On wet. I'm just going to create some variations, okay? And those variations can even be in the shape of a tree. So number professional watercolor brushes are really good specifically because they hold their shape. And I'm gonna show you how I do that with this number 10 brush. See how it's pointed at the top. If I get enough water off of it, I should be able to make little tree shapes in the background here. Right. So because I have, this is wet. It's already starting to dry a little bit, but that's okay. We're gonna be painting on top of this. Um, I'm just gonna paint some tree shapes up here, okay? And I'm not even like, paying much attention to how tree like they are or that they're in the same range. I'm just really painting Brandon Lee to show that kind of effect. OK, right. So looking at this. I want the bottom to be darker in the middle. So I'm just re wedding this and moving some of the pigment down and again. We're painting trees on top of this. So don't worry. If you're like I've ruined my painting, you really haven't. We've only just begun on. And anyway, I was telling some ways to insist the other day. I really feel like mostly art is as mean as the artist that I've become. Art is a lot of doing things the way that you want them to. And then making a mistake and just pretending like what you did was on purposed. Okay, so this is the background. It is scattered. It is not even. And we see some little pointed up trees up there on that is exactly how we wanted to be. OK, so I am going, Teoh, you can wait for it to dry, or you can do what I'm doing and dry it with my dryer. I'm not going to show you that part to avoid you having to listen to a loud noise. But this is layer one. This is our background. And now I am super excited to get started on painting arteries. So whether you're waiting for your thing too dry or you were drawing it by hand, let's get that done and I'll see you in the next video. 7. Final Project: Layer Two: Okay, My first layer is dry. Now we are going to paint our first layer of trees. So once again, here's the reference. This layer of trees is so light it's almost like we just painted more water on top of the background. But we do want to have a little bit of pigment, so I still have some of this light pigment here. But like I talked about before, I want you to take out a piece of scrap paper and test out to get the lightest pigment that you can. So I believe this is where the pigment was really light. So I'm gonna test it out. And, um in case you didn't watch the previous video, the way that we got this white pigment is by dipping into my ah palette of pigment to get a dark on, putting some of that into Well, I put it in the middle right here, but putting some of it into well and then just add water to it. Okay, so you add so much water to it until it's so light. And then that's why we have this piece of scrap paper. So I have already done that. I did that in our first tree video. So I believe this is the light pigment that we have, and it looks pretty light to me. So that's what I'm going to use for this layer If you concede e what we did before, we have some of this pigment creeping up already and reaching down on that kind of looks like it's already started a layer. So we're going to call that the very, very first layer of trees. All right, this, like, really mystical in the background, um, abstract layer of trees. And now I'm going to dip my small paintbrush into this very, very light pigment. And remember that because we're adding so much water, we added so much water to this pigment, you're likely gonna have too much water on it at first. So you want to paint a little bit to get some of the water off, and I'm going to start just below this tree line, okay? And don't don't worry about if it looks perfect or if it, like, honestly, thes trees are so in the background. You won't really meal toe see them a whole lot. But what I'm doing is using this really white pigment to paint trees. And another thing important to remember is that these trees were going to be smaller thes. We're gonna be the smallest trees. Okay, Small in the background, light in the background. Vigor upfront. Darker upfront. Right. So, um, that was Mars my first street. You might not even be able to see it. I'm gonna paint a few, and then we're going to cut to the next video. So it's not just a really long video be painting these thes trees, But it's important to remember that no matter how like, no matter what layer your on these trees should not all look the same. OK, they should have varying levels off pine needles on them. They should be varying sizes. Um, you want your forest to have kind of like a wave. Okay, it's not I mean, if you wanted to be more like a pattern like it's all in a straight line, that is all. You use your artistic creation, but I I think it looks a lot cooler when you make them slightly different. So I'm painting. I've painted about five trees using the vary it'd blobby method and just to make sure that , um the next layer of trees blends in. I'm taking a little bit of water, and I'm just putting it underneath the trunks of the trees. Um, so I'm making that layer blend with the next one. So just for reference that our next layer of trees is gonna like Start about right here so you won't be able to see this blended part. It's all gonna be painted on. Right? Okay, So, um and that's what I do for the whole layer of this layer of trees. I'm going from left to right. And I'm gonna keep painting these trees until I get to the top. So I'll probably go down a little bit, because this is our bottom layer, right? Thes washed out. He's washed out. Trees are more of our bottom layer. So I'm going to start going down. But I'm going to using the blobby variegated blobby method. And if you're thing to yourself, Kash Kobe, this is really tedious. Yes, Yes, it is. Painting trees is very tedious, but the payoff is so worth it. When you put in the time to do these little details, I promise. It looks so much cooler than if you didn't. Okay, that is my promise to you. Now if I'm wrong. Very sorry that you've wasted time on this art class. Um, I don't think I'm wrong, but we all have different opinions. So, um, just take my word for it. And, you know, stop watching if you if you don't think that's true, I'm gonna stop talking about that right now. Um, okay, So I've done another layer where I've painted thes trees. You can barely see them. So because it's the pigment is like the lightest that we could get it. Right. So that's what I'm gonna do all the way across. I'm gonna paint thes trees all the way across. And if you are painting with me, which I recommend that you do, because that makes this experience all that much that much better. I think I finished this before you move onto the next video, so finish yours. This is layer to write. Finish your second layer by getting very, very, very light, the lightest pigment painting it on, and it's going to look more like dried water than anything. Um, painting it on and then taking just a little bit of water and moving that pigment down. So it blends a little bit farther down so that you're not having to. So you're not getting like dried marks randomly in between trees. Okay, awesome layer to get started, and I will see you in layer three. 8. Final Project: Layer Three: Okay, We are now on layer three. If you finished layer to along with me and again, you might not even be able to see all of these trees. But it just kind of added a little bit more definition Teoh The blurry trees that we have back there. So layer three is the same thing with a slightly darker pigment. So this is the part of my pigment thoughts really, really light. So what I'm going to do And we talked about this in the value video. But I'll do it again here. What we're going to do is dip my paintbrush into the my palette. Where are the actual pigment is and mix it with the light pigment. Okay? And we want to test it on our little card to see exactly how dark it is. How much darker or later it iss right, Okay, because we don't want it to be too dark too fast, because otherwise will have some quick painting to do to catch up to the bottom. But that looks pretty good to me. So just to recap all I did waas add one small paintbrush full. There's my painted finger, One small paintbrush full of pigment into my already heavily, heavily diluted, um, green pigment to get slightly darker shade. Okay, so this layer is going to start. You want to start every layer, so my Lana trees goes about like this. Okay, so you want to start every layer, maybe like a centimeter below, Then it's the layer above. Okay, so on, this is me totally eyeballing. It could not be a centimeter. Either way. It should just be, like, slightly below, So you can definitely still see the top of the trees. But it's deaf as also definitely in front. Okay, because we're creating so many layers of trees here, and in order to get them to look super in depth like they do in real life, you need them to be very close together and kind of sprawling on top of each other, like their own rolling hills, you know? So okay, there's one tree that's pretty full. This tree is gonna be a little bit more sparse, and you don't necessarily have to use the same method for every tree. There are different kinds of trees in the wild, right in the wilderness. So I'm mostly gonna be using the vary ated blobby method. But I could also use the lines method or other versions I m especially in these ah, initial layers because to be quite honest, there faster and especially the bottom parts of these trees, no one's really going to see them. So because they're there to create up. So I want these trees to be, like a little bit bigger than they were, okay? And then I can start, do my thing where I blend the bottoms together, right, So we don't get dried paint lines everywhere. Help. Okay, And I'm just I'm just going That's honestly, this is what you're gonna be doing basically the whole painting You don't have to follow. So one thing I will say is you don't have to follow necessarily the size of the trees in the layer above, right. You can, um, make the trees randomly, really tall or really sure or have some space in between. It's just it's totally up to you, And nature is totally I mean, I don't say totally random. I'm really not a scientist, but, um, nature doesn't always have a rhyme or reason for why things are the way that they are. So this is your call you get to decide. And that's the cool part of being a landscape painter too, I think is that you can look at something that's riel, and you can make it slightly different to suit your purposes. So that is what layer three is going to be and will your floor and lay your five. You're just going to keep doing this and I'll have a video for every layer. In case you want to see how I have started it. That's totally fine. But, um, this is how the painting is. So, uh, you're gonna gradually be making the trees bigger and darker and until you get to the bottom. So I would probably stop about here and have the last layer be really big trees. So I would say maybe, like 123 Well, no. 12 three, maybe three more layers in addition to this, so you can dio short layers to you don't have to do his money as I'm doing. Um, but I will say the more layers you put in, I think the cooler it's gonna look so again, that's just weighing the cost versus the benefit of the tedium versus how cool it's gonna look at the end. Okay, so I'm gonna stop this year. I'm gonna continue on this layer and I'll see you on the next layer. 9. Final Project: Layer Four: Okay, here we are, layer, for I have two layers of trees, one layer of background. And like before we're going to take another load of pigment, put it into our well here and test it out. I might not do this for all of these layers, because it might be boring for you, but, um, yeah, that's our next color. Looks good to me. So let's. And in case it doesn't like in case you look at it and you feel like you put too much pigment in or whatever, really, the way to manipulate thes colors is to either add more pigment or to add more water. That's the only thing you're doing, right? So my last layer of trees was like right here. So I'm going to start about right here. You have to start in the exact same place. I'm sort about right here. I'm going to go a little bit bigger. Okay. So remember, as you're getting closer, you're getting darker and bigger, and this might you want to be looking at this and go Whoa, Colby, that looks really dark. A lot darker than before. Well, it is darker, but it's going to dry later. So paint is usually darker and more vibrant when it's wet. That is something I have learned, so something to be aware of. Okay, so I'm doing this. Vary ated blobby effect for this tree. And I mentioned I might do some other ones that you can see some other trees. So for this one next to it, I'm gonna do a straight version. My lines not I mean, it could mean straight lines. So I start with the trunk and using lines, straight lines I go across like this. Very light pressure. I'm barely putting any pressure at all on that tree. Um, one thing I will note that I've noticed more as I've been doing. This painting is be careful when you dip in your water to blend the bottom in. That was my husband coughing in the background. Sorry about that. Um, be careful when you blend your water before you go back into your well, because you might be diluting it a little bit more. Um, so I like to paint the water off in the well before I go back to this section. So just something to be aware of. So you're gonna keep doing your thing. And I have done four descending sizes in a row, which kind of freaks me out because, as I said, I always get suspicious of. I start painting things that are supposed to be in nature, and they are in a pattern. I don't think that's how nature is. So I'm gonna make this one a little bit bigger actually going to make it bigger like that. And I'm painting a lot of these to be pretty full. So next tree, I'm gonna make a little bit more sparse in terms of pine needles. And I mean, this layer is still pretty much in the background. But you got to pay attention to stuff like this. Um, because I really think that it makes a difference as you look at your finished painting. So here's an example of a more sparsely painted, variegated blobby tree. So I'm not having all of the trunk be filled with pine needles because not all pine trees are filled with pine needles. Right. Okay, so that's what you're doing for this layer. You are filling it with lots of different kinds of trees and at varying levels. I have gone in a straight line here because, as I said before your mind just it just wants to go in a straight line. Um, so if you notice that I would make a practice of noticing that and then try to vary it a little bit. So I'm gonna move this one up a little bit more, even though it's closer to the tree line of the layer above. I don't think that's I think that's fine. It doesn't have to be perfect. It doesn't have to be exactly the way that it you would imagine a perfect tree line would be because honestly, what you imagine, a perfect trailing to be probably is not actually what trees look like. So, um, and this is art. You can create it, how you can create your world however you want it to be. So just remembering these rules that indicate how things are in real life. Okay, keep going. I'm going to keep going and we'll see you in the next layer 10. FInal Project: Layer Five and Recreating Value: Okay, so I am halfway through the next layer, and I was planning to get through a couple more before I filmed another video because it's just watching me do the same thing over and over, and you should be able to do it. But I ran into a problem that I want to talk about. So this was where my tray, the specific spot in the tray was where my paint waas. And as you can see, I have run out and some of you and I'm only halfway through this thing and something that some of you, if you were like me when I first started playing with color values, might be like. But wait, how do I figure out what value I was using? So that's why I told you, Teoh, it's one of the reasons why I told you to test out thes color values on a sheet of paper. So this was the cholera is actually using for that layer. This was dark value that I got that was just slightly darker than I was anticipating. So I added a little bit more water to, and this was the color that I wanted. So now I have to recreate this shade, doing what I have done before. So I'm I'm gonna start over for the sake of you guys watching. So I'm taking some pigment and I'm adding water to it. And I have added water to I was I add a bunch of shades going on here, so I'm I don't think I need to add so much water to it, but I'm just going to test it out to see where I am. Okay, This looks pretty close, actually. So I added, like maybe one paintbrush full of pigment and maybe two or three things of water to get this new well on this looks pretty close. It might be a shade a tad lighter than I wanted, so I'm just gonna do a little bit more pigment, right? They're not quite a full brush full just a little bit more. And see if that gets me. Yeah. I mean, it's kind of it's, like, imperceptible right now, but I can see that's that might be a little bit closer to what we want. So it's just using your scrap paper. Teoh, test out different colors and to test out different values. I mean, that's Ah, major theme for this class is testing out different values for your water. So for your watercolor So that's what you do when you're out of the paints that you were using You Ah, use this thus, piece of scrap paper that you were swatch ing out to test out the color to recreate the color that you were using and you get started so I'll paint a little bit more trees on this layer that I was doing. Um, like I said before, you've seen me do this in all of the other videos, so it's nothing new. But, um, once you have the color that you need again, even if it's not exactly the shade that you want, that's OK. Just get as close as you can and move on from there and have that be your new well to mix more water. Oh, are more pigment. Excuse me? More pigment in I was we make are things darker. So there you go. Onward and upward or downward? Yes, as you paint the trees. So I'm gonna keep painting these layers, and I'm gonna have a few more layers in here. And your next video will be about the final layer of trees. Okay, so you keep painting and paint until you get the trees to be about where the bottoms of the trees air about here, Okay? Cause we want the top treats. And remember, they need to keep getting bigger. OK, Unless you want to paint just like so many layers of tiny trees. In which case, go for it. You do you? But we're going, Teoh. I'm gonna make my trees steadily bigger until the bottoms reach about here. And then I'm gonna paint the final layer. And that is what Ah, the nice video will be so, uh, just to go over the process of changing the value of your pigment. Once again, you, Once you've painted your layer, you take another brush full of pigment and make a darker on. If it's not as dark as you want it to be, then add more pigment. It's kind of, you know, eyeball it. But that's what I've been doing. I'm not work. That's what works best for me. So see you as we embark on the final step of this painting. Happy painting trees 11. Final Project: Final Layer: Okay, We've made it to the last layer and the I ended about here with my last layer trees. I think it in about maybe two more layers of trees. And the last layer is going to be a little bit different so that we can have, like, I talked about the bottom. Just kind of be almost completely dark. So, um, we probably won't need the palette this time like the mixing palette, because we're just going to be using We're using the darkest amount of pigment. Remember, the thoughts would the last layer is so before this time, instead of painting the trees first and then doing the bottom, we're going to paint the bottom first. Now, if you remember in the background when he paid to the background, we painted the bottom two very dark. The way to get even darker his to paint over it with that same dark pigment again. So So we're gonna dio um, listen carefully. Before you start, we're not going to paint the whole thing, okay? We're going to start because once you start painting, it's the paint is gonna drive fast, and we want to paint it. So what's we want the bottom to still be wet when we paint the top trees. Okay, so that means the trunk will still blend into the wet paint. So we're going to do this in sections. So if you would prefer, watch me first before you start painting, because it could be kind of tricky or dive right in all you. So I'm gonna paint this. Ah, bottom section right here. This is where my dried line was from the last layer. And I'm just gonna paint right on top of that. I'm gonna paint my this section right here, going to get some of this pigment off. So in case it does dries not quite so stark when I need it. Um, when I need to move on, um, I want to make sure I get on top of this line. So I'm painting, so I'm on top of the last dried paint line. Okay, so now I'm moving fast. I'm not waiting to get all the pigment off. I'm moving over here, and I'm trying to get his dark of a pigment as I can. So it's like and that point, it's like almost like a paste. And I'm making my trees pretty big. So I'm starting up here. I'm going all the way down here, all way down to the wet paint and I'm painting my trees. Now, if you notice that the bottom is getting dry, your priority is to re wet the bottom before a dries. Okay, You can always stop on the trees and continue painting the trees without messing up the look of the trees. But if the bottom dries, Ah, before you get a chance to re wet it, it's gonna pretty tricky. So on that note, I might just, you know, halfway through the tree, re what this baby a little bit so that it stays nice and hydrated and doesn't doesn't dry on us because otherwise we get dried lines. We do not want those, so I'm going really fast. That's another reason why I would recommend practicing the trees before doing this final layer. Um, orders. You know, doing paintings like this over and over again because you kind of have toe one. Paint the trees fast, and by painting the trees fast, you kind of have to be okay with them not looking perfect or paint them so much that years . Like going by muscle memory. Okay, so I want the bottom. I want thes bottom trees to be kind of more full. So I want the bottom. I gotta want to see the spots, Necessarily where I could see the paint was before. Okay, so I'm re wedding at just a little, Just don't at all. There's my singing gun and I'm moving on to my next tree. And this is what I'm gonna This is what I'm doing. I think I'm gonna try to do I'm gonna try to do the whole video with you this way, dressed in case something happens. And you need to know what I do in case something unexpected happens. So I'm just painting these trees. This is my bottom layer. And the reason that I want this to be dark is because, like we talked about, I wanted to be like the trees air so dark they're blending into each other and you can't see the bottom. That makes sense. Um, so at some point, you like, can't even tell the difference between the ground and where the trees are. That's kind of what I'm going for. Also, this could be like a hill like you're looking at a hill. Um, so that's where I'm doing. They don't have to be the same height or this name kind. This one. I'm gonna make just a little bit more sparse, partly to go faster and partly just to show you that doesn't have to be all the same. But the bottom does have to be a little bit more full so that you don't see the ground necessarily. Okay, I'm starting to see this side drying a little bit. And when I moved and when I re wet it, I have toe work it a little bit to get rid of that water line. But that's OK, so I'm gonna put a little bit more pigment tonics. I want this to be really dark, right? Right. Kobe, Um, be careful when you try to move the pigment onto the trees. Because because we use the darkest possible, they will have dried two. Typically the darkest pigments that you use dry a lot faster because they don't have as much water in them. Um, there are just mostly pigment. So they want to be dry. Eso the way to make the ground blend up with the forest is just to kind of manipulated and move the pigment from the ground up to be like it's a needle in the tree. Okay, so this this is why you need professional watercolor paper. Because it takes a lot to get this effect that I want. It takes a lot of re wedding and paying close attention. Um, and the more you do this, the better you will be at it. I know it's like at least when I first saw people doing these kinds of techniques and painting really fast like this, or when I before even like seeing other people do it, I would try. I would just get so frustrated. I'm like, How do you paint that fast? How do you get these techniques down? And practice is the only way. And I wish that there were a secret recipe or technique, um, to make it go faster for you, I really do. But there's not at least that that I know of every time I've tried to learn something that was like the secret to making this easy easier than it was before. Um, it's not usually what you think it is on This is just honestly, me postulating about life. But, um, it takes hard work to get rial success to get the rial kind of success that you want unless you're some kind of strange outlier. But even then, I just think it takes hard work and practice in patients to get up to the kind of level you want, Which is why so many people are not experts because it takes a lot to become an expert at something. It takes passion, and I mean, because you have to passionate in order to put in the time, and I have put in so much time into practicing these techniques, it's basically I mean, I have a day job, So I don't know if all of you know this or of you or if you see me on instagram, but I'm like, I'm not a professional artist right now. I am. I ain't unprofessional in that I sell my work and I teach other people how to do it. But in terms of this is not my full time job. I am a PR person. I do media relations and communications and speechwriting at a nonprofit in D. C. And that's my full time job, and so painting and lettering and all my other art stuff. That's something I do in my spare time. And I what little spare time I have. Um, and I do my business on my spare time, so I it takes a lot. I feel really passionate about this, and I really love it a lot. So that's why I put in the time to learn how to do it. And that's the way that you are going to get better. And if you if this is not worth your time, like if you're listening to me, say this and you think to yourself really sure that that's my life, that that's the life that I want for myself, then that's OK. That's no big deal. You just have to find whatever does make you passionate and whatever does make you want to spend every spare moment, Um, getting better at it. That does not mean I don't ever take breaks. I do sometimes take breaks. The recent lapses in my posting on Instagram should be an example of that. Sometimes everybody just needs to take a break from their life and not do the things and just, you know, Netflix. Netflix it up. But, um, for the most part, this is what I do. I go to work, come home. I paint some stuff. I think about painting other stuff. I make lists, I research techniques. I watch videos. I Yeah, it's just you gotta put in the time if you want to be really good at it. So that's my little tirade, my little soapbox about, um, passions and art and the like And that, honestly speaks to my whole philosophy of you don't have to be a professional artist or have gone to art school or any of that stuff in order to create beautiful things. You do have to be passionate about it and like, it doesn't have to be technically correct. I'm sure lots of people who have actually studied are to know all of the techniques in the same way that I know, like literary and communications techniques would look at my paintings and just cringe. But, um, yeah, you they can be simple, and they could be beautiful. But in order to get better, you gotta put in the time. And that's just the way of life. If you want to be good at something you really want to be good at. Something has to be worth. It has to be worth what a few precious hours you have on this earth. Okay, that was all morbid, but not more. But I just think it's important to know we have a limited time. So this got a little bit dry, which is why I'm re wedding it. I was paying attention. You might have thought I wasn't while I was talking to some time, but I waas, um so always pay attention. You can tell something is dry if it's not shiny anymore. It's not reflecting whatever light you have on your paper. And so mine was matted and that's how I can tell that it's tried. I'm so I relented because I wasn't quite there yet. And I am almost done. I think Mary, maybe this could be maybe we'll do another treetop after this, but at this point, I'm just kind of going full blobby trees. You can see so I might do another little tree here. Okay. And the trick is, I want to make sure that at the bottom there aren't very many holes where I can see the light green, Okay. And so I can I think that's true. So now, before I finish off before this completely dries, I want to make the bottom as dark of a pigment as I can, and then we're gonna dry it and see what becomes of it, so that we might get a little bit of a dried lineup here. But the way to make it look like less of a dried line. Aziz, you could see me kind of pushing it up right here is to make it so It's not even so. That's the way to make it look like if there is a dried line, you had it There on purpose is by making it look so it's not a line, right? So it's it. It looks like you're trying to blend it in. Okay, so just the very bottom. I'm making it very, very dark. See how these dark trees are almost black. And that's what we want the very, very bottom to look like. And I think it almost there. Yeah. All right. So now this is turning out to be longer video, but it was a different process than the rest. Now I am going to do one last thing. Sometimes on tree tops. No, no. I took that water off out of tree tops when you see for us like this, you know, you here, little birds. So I'm going to just paint one little tiny, tiny, tiny bird by doing a little V, maybe like two little birds coming out of here. So that there and actually we don't want them to be super dark. You want them to be a little not, like, quite so light is are there trees? But you don't want them to be, like, very dark because they're far away like we talked about. Okay, so just very tiny birds. But all of these, right? Good enough for me. Okay, so I am going to dry this and then in the recap video, we will take off the tape and see our magic happened. Okay, See you in just a few minutes. 12. Recap: all right. I have dried the bottom layer, and now I'm gonna take off the tape. But I wanted to show you this on film because so now this is kind of tricky. Um So I would take it at an angle always because, and go very slowly because you might catch some of the paper, especially if you're using student grade paper. The tape might catch because sometimes this especially this really heavy paint acts like an adhesive. But it looks like we got lucky that time. So then I would just crinkle this up, put it to the side. I don't reuse tape. I think some people might reuse their tape. I don't because usually I used tape when it's full paint. So, um, I'm doing the same thing, taking it at an angle and I would go slower than what I'm doing because we might catch. And I might be in trouble. Would. Yep, member of that spot where I suspected there might be some paint there waas, which is OK. And so I hope you saw what I mean that time by that's why I go top like bought top bottom side side, because otherwise it would catch on the other sides of the tape. So taking off the bottom now and then I will take off the top. Looks like, uh, slight. Some of my paper caught a little bit and the tape was not quite pushed down all the way there, which is OK, something to note for next time. And this shouldn't this top one shouldn't be as much of a problem because there wasn't much pain time. But there you go. There is our finished product. So the Onley things that I always like to once I finished, um, a piece to look at, how I've done and what I could do better next time. I think next time I need to push the paint up a little bit closer to the trees because it looks like a little bit. There are some lighter spots in between the black, the dark, dark green here, and the doctor green of the trees. But I'm kind of like it. I don't think it's bad. And the tape, obviously, I could have pushed down to be more firm on the paper over here. But all in all, I felt like that was this looks really cool. I did many, many wears, as you can see, and I don't know about you, but I think the payoff is great. So there's your final project. There's your class. We have gone from light to dark, which is a practice in value. We have also gone from, uh, light and kind of more abstract, clearer and more defined, which is how we do. Ah, different kind of misty effect than my other misty forest class. So here we've made kind of just like a deeper look into a vast range vast forest, right, with some birds coming up out of it. So I hope you found this class. Um, interesting. And I hope you learned some things. And if you like this class and want other people to know about it, the best thing that you can do is like it on skill share. Give me a review. I would love to hear what you think. I would love to hear what you think. Even if you didn't like this class, Um and I I will I would love to see all of your work, So make sure to post your final project on the final project on the final project board. And if you haven't instagram and want a post this on instagram by regularly feature people who take my classes on my instagram stories. So my handle is at this writing desk. Um, and if you go ahead and tag me in the comments and in the picture, I will give you some love and maybe you'll get featured on my on in my instagram stories. So thank you so much for joining me. I hope you had fun most of all. And see you next time.