Watercolor and Pastel Techniques for Light Filled Paintings | Malcolm Dewey | Skillshare

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Watercolor and Pastel Techniques for Light Filled Paintings

teacher avatar Malcolm Dewey, Artist and Author

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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

16 Lessons (1h 58m)
    • 1. The Exciting Mediums

    • 2. Why Add Pastels to Watercolor?

    • 3. Materials Guide

    • 4. Watercolor & Pastel Tips Part 1

    • 5. Watercolor & Pastel Tips Part 2

    • 6. Watercolor & Pastel Tips Part 3

    • 7. The Wave: Painting Demonstration

    • 8. Important Process Tips

    • 9. Summer Lane: Part 1

    • 10. Summer lane part 2

    • 11. Water Summer Lane Part 3

    • 12. Village Road: Part 1

    • 13. Village Road Part 2

    • 14. Village Road Part 3

    • 15. Village Road Completion

    • 16. Conclusion

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About This Class


Do you want to add something different to your watercolor paintings? How about your journals too?

How about combining the spontaneous effects of watercolor with the zing of pastels?

In this class you will learn how to:

  • Use loose watercolor washes with confidence;
  • Work with big brushes to create big, bold shapes in watercolor;
  • Too see the light and dark shapes that give paintings impact.

Then you will see how to:

  • Add powerful strokes of line and color with soft pastels;
  • Where to focus on your paintings for maximum impact and delight your viewers;
  • Avoid blending away color and instead make your colors sing with variety and boldness.

A basic knowledge of painting is all you require to quickly take advantage of these techniques. Even beginners will learn valuable techniques for more confident brushwork, use of color and texture.

So sit back and enjoy watching the lessons and demonstrations. Then jump into the class assignment and try out these techniques for yourself. With practice and a bold spirit you will transform ordinary paintings into something stunning for you and your friends to enjoy.

Meet Your Teacher

Teacher Profile Image

Malcolm Dewey

Artist and Author


Professional artist and author. I work in oils painting in a contemporary impressionist style. Mostly landscapes and figure studies. I have a number of painting courses both online and workshops for beginners through to intermediate artists. 

My publications include books on outdoor painting, how to paint loose and content marketing tips for creative people.

My goal is to help people start painting and encourage them with excellent lessons that they can use for years to come.

See full profile

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1. The Exciting Mediums: are you interested in painting with watercolors and bringing a little bit of extra into it as well? Maybe a bit of multimedia. How about adding something ICP Estelle to your water colors and bringing a new dimension to your watercolor painting. Hi, Malcolm Dewey. I'm a professional artist, and in this short course I'm going to show you how to combine these two fantastic mediums. What a color and a pistol into making something but different and exciting in this course. Begin to learn the basics off water color, bringing in washers into your water color, developing them with a few more shapes and then bringing in past ALS to add a new dimension off strength, color and energy to the watercolor paintings. There are many possibilities you can use with the system, and you can add extra media to it that we're going to focus on water, color and the very fundamentals off it and also the basics off using past ALS. So I hope you can join me on this short course and find something new and exciting for your painting. 2. Why Add Pastels to Watercolor?: So what is it with pastoral? Pastoral, really is just pigment held together with a binder, the same sort of pigment that's used to make oil paints in acrylics. And it's pigment just very concentrated in a handy to hold stick form. And, uh, it's very powerful where you can use I'm soft color past ALS and get very soft vapor. Us. Atmospheric affects pistols and also can be extremely powerful. And the bright colors, reds, yellows are fantastic. I mean, they pack so much punch. So how can I resist? So I use pistols with water colors to emphasize the fundamentals. Maybe I want to add punch to a light effect and the old use past ALS to maybe strengthen the darks and how, like the lights, even more sitting up. More contrast, maybe to make more interest in shadow areas, I can bring more interesting blues and purples into those areas. It's little things. Sometimes it's big things. Sometimes it's just taking a rid and making Dotson color, too. Add interest in punch and interesting light effects. Interesting color effects to catch the iron, add a bit of sparkle. Each painting has its own needs, and I assist them Andi, proceed accordingly. So I use pastoral to add zinc. I used to add more punch. And sometimes, if I've made mistakes home perhaps too often made mistake in the water color. Because if I've lost the light where I went to the Latin, I haven't reserved that light in the water killer and I may be lost it well, I can take a light pistol and that zing of light maybe have lost with watercolor, so it can definitely help things as well. So I use the two, and you will be able to use that as well. And you can bring in other mediums. Maybe some pink as well touches off washes well to maybe at Smokey fix various things. There is no reason why you can't use thes different mediums and techniques, but I'm going to try and keep it as simple as possible and show you a number off paintings and you'll be able to use pastel and watercolor together as much or as little as you want and get interesting effects. And don't worry about trying things and getting them wrong or making mistakes. You can almost always correct a mistake, and if not, in fluent something new, and then you do the next one. So throw your worries and concerns and cares to the side. And let's just create some interesting paintings. 3. Materials Guide: as far as set up off materials is concerned, try and keep things as reasonably simple as possible. First of all, I've got my paper set up, which I do on a piece off India or hardboard or anything like this, and a tabletop easel that can fold on were necessary. Sometimes you want the paper to be flat if you want the water color wash to dry, for instance. But when I'm working, I pull it upright, and this makes for in our surface pencil on what is This is probably a to B pencil and just to draw Archer composition as roughly or as detailed as you want. As far as paints are concerned, this is where I follow a system that is very much like my well painting and acrylic set up . Try and have a warm and a cool off the primary colors on a few extra convenience colors. So, for instance, with the blues, my primary or main colors would be ultra marine blue, and I've also got a surreally in blue, and those two cover many off my typical painting requirements. I have a few others as well that are available. Fellow blue and Russian blue etcetera. But I mostly used those and as a basic set up royal to get these correct from this. What kind off paints All these thes are often easier made by my Mary. There a good quality student paint. Andi, you do find with that, and there are other very good college student pants you could use as well on the market. Then burnt sienna, one of my stand by colors as a convenience color, but especially in water color. Very handy. You look, uh, well, maybe you could substitute raw sienna. Very similar one funk warm earth color function. Yellow's my yellow lemon for a cooler and a yellow deep for a warm ula. As far as raids are concerned, a red light off any sort of top. It could be kid meme. Or maybe, um, some talk off primary or permanent red light. Something like that. I have I spent a little extra and got this. The Lisbon Crimson from Saliyah that is an artist quality and little lost a long time, probably a year at least, extremely strong color. But the lizard in crimson, such an important color in my watercolor, set up that with the blues do wonderful things together. Now. I don't really use a green. Sometimes I feel, um, Mohammed reach for a tube of some sort of green, maybe a sailor green or ah, if I want to, particularly bright green that isn't so easy to mix. I will use the tube green, but mostly I will mix greens on the palate using these colors. So that's it. Very simple, but I think it's effective. It also saves a lot of many working that way. As faras Appellate is concerned. This is quite a a mess work of water on its own, but I will squeeze our colors as I require them. I will try and mix um, sort of great blues in one and greens and the other in warm reds and yellows and another and some sort off. Um, gray vapor Russell Atmospheric mess will happen, probably here. When these get really duty, I will clean them up. But mostly they lost me quite a while, and that works for me. Um, now, as faras brushes or consumed, there's a good selection of brushes you could use, but probably I will use. This is a Georgia and sky flow I may use something like this pool, big brushes or preparatory stage. My regular go tree brushes are mops is a may borrow fail. And Frantz, I'm up like this because a lot of water and you can really prepare your first washers very nicely with that. A smaller mop. This is the number two bar FL. You can almost do your entire painting with that. Nice to have is a square shaped brush as well. This is a short, flat but dollar Rony, very handy as well for the particular kind of shape. A shape that I like to use in my acrylics and and oil painting as well. And it brings it into water color. So that's very useful on. And if I need to, I will years a small brush, but very soldem. I will use such a small brush, maybe song my name, or perhaps some rigging on a yacht scene or something like that. This is a sable round. So sable is also very good Brush full water color. Um, I may just mention another last little brushes this cat's tongue, its shape off brush and, uh, it makes a very nice shape. Comes to lovely point as well. This is or so by Rafael. Very good brush. Those take care of just about every requirement for painting and they're lost a very long time. Water. I prefer using trays like this all left to trays filled with water. One to get most off the mess off the brush, the other to rinse it and then just let them life of a year and they can dry and take shape again on as I need them, I will just pick them up. So nothing too fancy there prefer that system to having a jaw paper. This is not expensive paper. This is simple watercolor paper. 300 grams that is available anywhere you don't need extremely expense of paper. And then when it comes to the past, ALS, I have ah favorite set off pistols, mainly comprising of unison, past ALS on a rim brunt as well as Kohinoor, which has quite an affordable and and, uh, I handy sit to have. The main thing is, though all soft pest als I don't use oil. Pistols were hard. Pastore's I just prefer a good set of landscape colors in a soft pastel range. If you got the budget. Uh, unis Um oh, superb Rembrandt. Also special. Cinelli a also make excellent, um, pistols. I've got some sin Ilias as well. So basically, you build up your pistols as you go on, that becomes a bit of a mix and match, so that settles porous materials. Quite simple, but effective. One other thing to have place on hand. Some petitioned pope to lift up Whit Butts was well or toe reserve your lights. If you act quickly, you can save an unfortunate mistake. So although it's a tissue paper on hand and that's about it and we can start painting 4. Watercolor & Pastel Tips Part 1: okay. Start to get into the painting now, and I want to show you some basic techniques with watercolor and with pastoral. You'll pick a lot up as you watch the demonstrations coming up as well. But there are some fundamental ideas with these mediums, and you can get an understanding of them right from the start. It may be something you're really familiar with, but I just want to touch on those bases to make sure he's starting off with similar ideas. So let's start off having a look at watercolor basic concepts and techniques. And then we'll pop into past ALS and learn a few tips and tricks, their techniques that I'll be using a lot and that I used frequently in all of my what are colors. So let's ah, we'll look at sea water shadows. Andi, Um, who war? Those are probably three typical things, and then we'll have a look at some of the pastoral techniques that I like to use. So starting off with water color, my typical set up with would be to have my water in a couple compartments like this soak my brushes slightly beforehand to get them nice and soft. and then set the Martin. They're ready to go. I've got a selection year between my usual mops, a flat brush like this on and a little brush that I've come to enjoy quite a bit. This is a memory point brush, which they manufacturers say will come back to its point, as the name suggests. But I like the almost full bird shaped brush to it, which particularly for more precision shapes. So we'll be using the memory point. Russia's well, my usual entirety palette of colors on. If they have dried a bit, I will drop some water on them just to get them loosened up on moist on, ready to go. Okay, so when I'm doing a general wash, let's start at the bottom. Yeah, I would use a large brush like this, or perhaps a big canvas, since I perhaps a big piece of paper or probably a mop doesn't really matter as long as it's a large enough brush toe. Hold lots of water, and that makes putting a Washington much simpler so you'll see me typically starting with the warm wash, and I will have a watery mics off one point, maybe the steep yellow and get a washing like that tends. Typically, it will be fun and runny, but nice and transparent. So a lot of the brightness off the paper store comes through. But it is not the cold, white paper any longer. And then that will dry if Andi stretched the paper at the same time, and I've also lighting up as a tries. So that's a typical starting wash. If I want to get any real hot lots out of that Andi, I need to reserve some mawr that white on the use of tissue paper and just rub the wit wash , and it will reveal more off the paper making. Um, it'll highlight once the paint is dry. You can't do that anymore. So you got a know where you're going to go beforehand. So let's say, going back to the top here I went some seawater top colors, so there are all sorts off different types of seawater. It can be bluish green iss. A lot of highlights in it. Maybe it's quite dark, but in general I would start off with ah wash with ultra marine blue and getting some of those shapes on starting off with so until, um, loose wash on, then seeing where the doc shut up. Portions of the waves are. Use more ultra Marine for those, and I might have to reserve somewhat if necessary. So you've got that. Of course, it's a good idea to get the shape off waves worked out. Maybe from your sketches. And you've done a few No. 10 studies like this to get the composition off your waves, where they're going to be laid out, etcetera. No, this is where we come in with some other colors. Maybe if there is green showing through bringing a little green and drop that in a swell might be locked coming through the waves, that sort of thing. But generally your first wash let that dry a bit, but you can see the shapes off put in already looking like the wave shapes. So while that's drying, I'll move on to typical shadows. So let's say, for instance, as you've seen one of demonstrations is a sand dune. So I've got Sand Jr Andi. The sand dune is in shadow, and it's costing a shadow across sand. So although this is going to be shaded, so I have a really started off the painting with a warm wash where the warms are going to go. So be the warm over there. Now you can have a warm wash where the shutter is already, because you that would constitute a local color and you would go over it with your shadow colors. So typically, shadow colors for me would involve ultra Marine blue on this run Crimson and I would drop in my shutters like so and then develop those shadows. Maybe I need some so really in blue to cool them down some more because most of a shudder contains quite a lot of blue, and if necessary, I might just have to told us a little to prevent that running too much. So I've got cerulean blue, ultra Marine blue and a bit of Lisbon on Goff got in a shut up. I like to bring in where the shuttle is much darker or put in subsequent washes off Ultra Marine on Listen and we'll see how that develops. Okay, now, as that draws, I'm going back to my warm wash, which was drawn sufficiently, I think, to show you another important technique, and that is using cool and womb color, so this could be anything that could be in. It's a road on. I want to not bringing some cools. So if I just bring in some blue over that like that could be a shadow. My baby, This is against the wall, say, so that would be the yellow and the blue making a sort of a violet shut up. I could bring some of Liz Aerin. Let's see what that does, which is a cool rid and we get in more burgundy orangey mix happening so very often I'm going to bring in cools over I wound and let to work together as I contrast off Woman cool . So don't be afraid off Bringing in cools over warms warms over cools I shudder coming along Oops. We'll come back to these watercolors as they dry A. But when I'm using pastoral are also keeping and I on warm and cool. So you we've got a cool, purplish blue businesses on ultra marine dark blue. I just regarded as a cool, dark blue, and if you put it against orange, you get that complementary relationship going. If you mix it with some de pillar over it maybe Robert A. But you get a green, a soft green so you can manipulate the past ALS like that. Generally, when I'm putting down pastoral, I am using strokes quite hard strokes and trying to get more or less the shapes that I would with a paintbrush. So with a square brush like this, I'm getting strong geometric shapes on with the pastoral. I'm trying to get geometric shapes as well are very soldem. Smooth little out because I want to see those textures. If I have a smooth area, I'm going to go over it again and trying see one strokes to make their own shapes as well. I will build up color in layers, so I said, That's volatile there. Sometimes I will go over it opposite directions, so I tend to leave spaces for me to add other colors in and papers going to take as well, so you can build up a whole variety without getting a flat on one not in us type of surface , so quite a bit happening there as colors work with each other, but they've all been able to be put them down because I build up color with spaces for other colors to come in. Once the color is all taken over, the paper is taken. Ups difficult to bring in color, because then you just going to smudge very often pastoral marks consistent of lines that could cross each other. Sort of typical cross has hatching fashion. I could sketched them, but sometimes I'm putting in little flat areas like that. But in general I'm usually working in lines, and then I can build those lines up by adding in other color. So it's kind of Impressionist. Well, applying the pastoral or so drop in marks small marks that maybe at some vibrating color or a blue I could go over it. It's a dark, then a lot, and get broken color, but it's not smoothed away. Dissolve past all you could try using water. Surgical spirits also works very well, and if you really do want to dissolve your pastoral into some sort of wash, then surgical spirits, which you could get at a pharmacy well, do the job for you. This is just water, and you can see it does to an extent, dissolve 5. Watercolor & Pastel Tips Part 2: So let's go back, Teoh Seawater. So a wave is, let's say we've got a breaking wave. Yes. Oh, there's going to be a lot blue colors. And so, yeah, I'm using layers of water color to suggest moving water. Uh, maybe one need to bring in a few shutters caused by the rippling water. Some of the green from the breaking wave shut up under the wave distance. See in the background. So there we have just by adding layers and varying the direction off the brush, I get an organic bolding bulled up up shapes that resemble seawater. When that's drawing again, then I will go with the what firming area with white pastoral and also bring in somewhat harlots to look like that typical sort of wave shapes and colors. So don, you're in my dune shudder. Put in a few more drops washes off dark at the base of the June as you'll see as well. In one of the paintings, there's some dune grass comes into it, so oh, drop in some warm washer of Eliza, Ron and deep yellow, and that would suggest the warm grass in shadow subsequent layers off. Pastore also had a bit more data. Sometimes a few little dark accents add more touch with reality. Uh, so that would be I shudder and your the effect off layers off color you're bringing in some yellow over the Liz Aerin to warm that up yellow over the deep yellow two. Brought on that up. So once the blue, for example, area has dry dr Bring in. Similar on. We get greenish cooling down off that yellow. It's not completely green, but it certainly cooled it down. And this can be used for Great Cross. For instance, drop it off blue water color with yellow over it will give you a cool shot of grass. Subsequently, deep yeller over the first wash to strengthen it where necessary. So it's all about building up layers were necessary, transparent where also, if you need to break up a flat area that's looking a little too much drop in color, that sort of various the temperature, but not necessarily gonna change it into another of earlier, completely still remains a dark. But we got color in it that it's not playing with color temperature, huh? 6. Watercolor & Pastel Tips Part 3: I'm not going back in with the pistols. That some what Chalker pistol want Soft, pastoral Andi. Now I'm putting in the firming parts of the wave, just folding over a curve to suggest the breaking wave, and you can see how immediately the shape comes to laugh. We'll see you just getting it. The breaking section, having it stole an irregular shape to suggest the chaos off the foaming water. And that's all it really takes. Now the watercolors base, um, plays its part and gets that lovely, transparent effect of the water. A darker shade under the firming area gives more form and substance. Maybe there's some green showing through just a little touch of green like that. Smooth the edge. Andi, you've got light through the breaking wave can emphasize things, but more if the shadow under the wave is darker but of Dark Blue might give you more drama and in the light on the flatter plans off water, just showing a few tops there off firm and it brings it to life. Now you've got a very active water surface. If it doesn't work out, perhaps this is too dark, you can go over it with in light of purple violet, maybe the green in there. I'm not too thrilled with it. Just smooth it away, but I can go over it again with some blue. But sometimes you may. That's straight away. Think it doesn't look right, But then give it a moment. Maybe the a second look shows you that, in fact, it is working. So you just goto kind of just keep working intuitively, and you may just surprise yourself. How about this? Light blue is catching the reflection of the sky and the flatter portions of the water. That's very important as well, and it also helps with that light. Dark can't change with the darker shadows in the waves and in the highlights in the flatter planes off the water. So there we have a lot of broken color and an act of water service working nicely. I mentioned afternoon sunlight early morning sunlight hitting the dune grass in the top of the dune. Lovely warm oranges and reds bring that art and then some light breaking through way. That's not where the shadow is not hitting the sand crossing of the sensitive, bringing some warm light on just using slightly on pale yellers, vestal and now violet personal. Notice the violence. Just bringing a little bit of light into those shadows where indirect light will fill Trinh . And, of course, the violet works very nicely with the yellow sand color. So complementary colors working together, just lightening up some of those shadows or removing them further away from the June So broken color warms and cools light and dark complementarities Ages of the ages of two hard . You may have to soften them, especially in the shadows further away from the dune. Shadows will get softer. So just suffering those angels maybe smudged it with a finger. You know, go over with a another pastoral, bringing some suggestions of details in these dark shadows. A few dog accents, but of purple. 7. The Wave: Painting Demonstration: a basic drawing off the composition as the reference photo on the bottom left. And I'm using, um, standard pencil, some basic watercolor paper that you can get anywhere taped with some masking tape on toe aboard. I haven't stretched the paper. It'll stretch naturally as it dries when the painting is done, so roughing in the composition. As I said, light and dark shapes are important. And this reference, as you can see good, strong light on dark contrast, just going to really catch the eye. And I so sort of diagonal wave is going to feature strongly in the painting. So starting off with a warm wash using a large mock brush, good quality mock brush is really a great brush to have to start off, get along the big washers in nicely carries lots of water. Just get that spread in right down, using bit of tissue just to lift out a few of the highlights that I'm gonna have on the waves. So while they wash is quite wet, that lift very easy with tissue paper. But just to make sure I stick to this, I'm also going to use a little bit off masking fluid which show brush on on some of these spots just now. So keep up with the general warm wash. Do the whole painting. Cover it basically with your first wash. It's a very thin layer that's not going to do any home, but it's sort of the general harmony from the get girl, as it were. So got the wash in. Now I'm gonna just get in a bit off the masking fluid. Just brush it in regular masking fruit. I don't use masking fruit a lot, to be honest, but sometimes like this, the highlights off the waves are really quite prominent. A few the hearts on the sand as well. Not as important, because I will and keep those or sorters out with some passed on. So it is our core memory point brush, and we're gonna get this brush to work. Start with the layering in, just pulled up the warm side off the composition now into the water areas, laying in also a few touches where are see things going to develop? Andi With that green, I'm going to mix it with a bit of the blue and lightly bring it in and you can see how the blue reacts with warm and washes well, but making a warm greenish terms. It is, after all, seawater. And that built up many transparent layers is going to do a lot of good for years, especially water color. When things kind of happen. When you're not looking as the paint is drying and settling down, you get these little spontaneous effects. Um, but first layer is very generous. I don't mind. I'm runs here in there. Doesn't matter now. The shadow side of the dune, which is important, and some of those nice purple violets. Let's bring them into the water as well. Quick flicking brush strokes here letting things happen and the for lige in the shadow areas, I think a bit of a lizard in rid. Let that sink in with the purples and littered work It's way and, um, strong color dune grass also gonna feature prominently. I think more of those greens and you see how the water settles and you might think idea too much green, but it settles in and it looks more natural. Strong sort of orangey raids against me. The underpinning off the for lige. So with the wave as a mentions gonna be quite prominent. So I'm using the memory point brush the particularly strong point, and it just to getting some nice darks under the way of the upright wave has a lot of dark color, and that dark value is so very important. It actually is. What makes the wave. We tend to focus on the highlights of the wave, but it's the darks that are going to give it punch. I just need to bring in quite a bit more dark into the top of the dune. Andi, although this is a few areas slightly spit up but still work quickly, getting out some of that mosque in fluid, just rabbits and your finger. Political. Make sure it's dry. Best ALS. Really basic selection off unison pistols. Amusing Your past. Um, strong talk pistol on the flatter portions of the sea have more highlights in them, so going to have lighter blues, a very pale violet and also sort of off white as well makes a nice variety. Now the hard nuts off the wave. I'm using just rough edges here and developing the edges, suffering them as well, suggesting sea spray amusing basic white pastoral getting that in quite rough. I don't work softly with pistols, really used him to quite a bit off. Pressures will but of Violet to develop the shadow off the foaming waves, spread it in with your finger a bit. That's nice and soft, and it's not an oil. Pastels are very workable. I much prefer this to oil pastel. Not a big fan of oil pastel, to be honest, but, um, the form of the wave is now developing, as you can see, a three dimensionality. So I'm really going to push the limit a little year with us. A very dark blue pastoral just from shadow under the focal area off the wave focal point on . Just take that through for consistency and harmony through along the wave. The end result is a one. A wave that stands out. It's strong catches the eye. A few of these softer water elements few details in the grass as well. My strong oranges in the shed a cross. It just seems to blended softer, nice, warm red. Although it is still as red goes, it is still cooler than the sun. Fold rids on the right hand side. Others path is going to lead. It's I into the towards the water. So we have to work on that and, uh, using the off. What Pastoral. I'm going to get a nice contrast ing and value light value. Keeping it warm, though with the under painting. But this will lead us in break up the shadow with a few dots off color to suggesting a bit of natural light filtering through. And now, with them up, just softening up some of that test all too emphasize some shadow. Pretty much done. Now I think we've got a good impression going. Ondas You can see the dark violet purple shadows working RC with the yellow complementary colors on the right. We're quite happy with us, actually. And quick painting. I think the cool memory brushes also did a good job and developed a lot of nice shapes. So there it is. Two brushes, mop hands, the memory point brush, working closely together a few pistols to bring it all nicely. Andi. Yeah, let's get it off. Take of the tape. Get the White Strip just to define it. A little end result. Pretty pleased with it on Duh. Sign it often. We're done 8. Important Process Tips: So what are some of the important things to keep in mind when you're looking at what I've just shown? You know, in the first stage, this painting, you'll see that even with this first wash, I'm already thinking light and dark and warm and cool color. So know where your shadows are. You know where your lights, or know where the warm and the cool needs to be, and the Latin dark that is such a huge part of every painting. So I've already started. Put it, bringing in the cool colors where the cool darks are going to be using blue lizard and crimson and having those transparent colors just mix around and see what happens. I haven't mixed the colors to death. All right, you can see blue. You can see a Lisbon they working together. That makes a lot. The exciting little specially fix. Our very first wash was a warm wash off very loose, deep yellow. Why's that? I assess the light off that scene. It's a sunny, warm countryside seen, so I'm leaning towards a warm wash it right from the start. It was a cold, overcast day. I'd probably be putting on a cool. Wash more to the blues. Very Latin blues to get that overall harmony and cost to the scene. So think about the nature of the light. Warms, cools and work with that. So warm, sunny countryside started with warm wash reserve wherever you'd want your lights to be with masking fluid or just using some tissue paper and know where those are going to be. You may know to just leave them as they are and then start dropping in least washes off. Woman cool color. And that's how you go where you want strong docks. As you'll see I will Go Over was cool first washers with more off the same. Maybe throwing a few other complimentary or related color to just play with color temperature. But but in general, I will make those doc shelter areas, Doc, huh? By going over with subsequent washes off Blues and AM Businessmen's maybe a little bit of been CNN to really get some nice dark going. If it's a seaside seen on my bring in something like blue and some yellow Limon to get very cool green, deep, cool greens, so have fun with coming up with those cover ideas as well. As long as you stay within the bands off warm and cool and Latin box, you can throw pretty much anything in. And that's our I pulled up the watercolor painting Notice that I'm not meticulously drawing every little detail and then, with us almost a dry brush, tryingto coloring each little detail. This is Mawr Lusa, more spontaneous type off watercolor, where they are essential and important little details. Then I will reserve those and then we'll go over them later on and defined them or if necessary. But in general, that is perhaps around the focal point. You don't need to have that the whole painting, so there will be a lot of loose and a lot of Impressionist looking parts. The painting and then a few details were required. 9. Summer Lane: Part 1: This is the reference for a painting that I'm calling a summer lane. I'm going to make it brighter and warmer, but this is my guide for the composition. The desktop easel that I use on. This is how our tape on the watercolor paper, both sick 300 gram paper, use a pencil rough in a composition. And that's about it. No, I'm putting a lot of yellow into the first wash for this painting. Yeah, I'm using yellow lemon for its some cool, bright quality, letting through a lot of the brightness off the paper. I'll bring in a bit off deep yellow on the left on and a stronger deep yellow on the right , where there's going to be more darks in the painting as well. So just using a large mop getting that in pretty much all over there's some cooler green yeah, which will also contain a lot of the darks and shadows areas of the painting quick flick of the brush over the road, and you can see a bit of the distance being suggested already. Now it's all dry. I'm using a square headed brush short, flat and just getting better off green onto that and using this to add a few transparent layers over the yellow, cooling the yellow down. As I said, this is the shadow area, quite a strong shadow area on the composition. So I'm gonna build up the dark a bit in the strongest shadow passed on, going straight in with some ultra marine blue and starting to feel my way through this composition. Now I'm going to bring in some stronger ultra marine with littering for the extreme dark. It's still a cool dark, although Liz Aerin is involved Eliza in being quite a cool red, which works nicely with Ultra Marine, which is ah, blew that many believe is warm and contains a slot but of red. I seem to agree with that as well. So years old Marine in the darks over here, and you can see how it works with the greens underneath, carrying the shadow over onto the lift. So just roughly blocking in the composition and you can see once it's dry, how it turns itself down considerably. Therefore, you got to keep dropping in washes to build up your darks, especially on and ultra Marine on the list over the yellows cooling it all down. So I've got the local color off the yellows underneath with the cool shudder over it. And the shadows contend Lot of blue. So good, I would say very much true to nature in that respect, although the colors are more intense, as you would want in creating a creative piece off artwork. So all they say just pushed the colors a bit and get something special. This is really straight ultra marine going in over the yellows. Bring in some green cool green, just cooling the stung quite a bit more. If you get a few runs that you don't want, get tissue paper, mop them up very often, I just ignore them. I will work over them if mystery with the pesto later on. Or maybe the runs actually become part of the painting so you can decide. Got a cool this foreground just a bit with some very loose green. This is a typical loose wash, all right, you would come back into this with a dry brush. If you're doing the whole thing in water color some more dry brush details that I'll be using pest als instead. But getting a nice warm, sunny feel to it already. So quite. I'm excited about that. So you can see I used the cool reds and the blues and I just lying it down to dry a little , and then we will go into refining the shapes of the more in Part two. 10. Summer lane part 2: that in part two of the watercolor section, I'm going to be adding a few more layers, a bit more richness to the first layers off water color. You can see how putting in some yellow lemon over the blues just adds dip, using the transparency of water color to good effect. Building up the layers, building up richness, building up interest in the general appearance off the painting. And it's this dips off color, which is so appealing with water color. Of course, in oils, you can also use transparent scientifics very effectively that what a color that's its real party piece. So put a bit off extra layers in the final few shapes very loosely. This using this press with loose touch, not trying to dry brush. Any details. This is a very loose wash, ultra marine blue over those pale violets and purples, cooling the colors down as well at the same time. So it's once again the use off warm and cool color. Now this shadow portion on the right is clearly going to be a focal area, so bold it up. Your focal area should stand out as it does here with mites and dogs contrast and dips off color. Very light touches off ultra marine blue into those yellows, creating a bit of green now dropping in some Liz Aerin, which I don't mind using in shadows. Because, of course, the lizard in crimson is a very cool red when combined with transparent blues. Makes strong dark purples and cool enough to be in the shadows in the distant road, dropping in sort of a de saturated graze wash to create Sameera. Prospective push that distant road down and into the paintings. Some dips. This is a very loose been seeing a listen color just to softened things up in the distance on a butt off ultra Marine straight Ultra Marrying into these, which washes off a lizard in balancing things out a bit. A swell, a little bit on the left and right. Some of these lines a bit hearts. I'm just softening those edges up. I don't want to detract from my focal area. Too much suggestion off some shadows in the distant trees basically breaking up. Larch fled areas that maybe a little to an interesting So next the best ALS 11. Water Summer Lane Part 3 : okay, the final stage where I'm going to be applying the pistols. It's all the watercolors or dry, and I'm starting off with some dark blue and working into the focal point area. Just establishing the darkest darks right from the start. And following this up with some cool blew a sort of teal color, I suppose. But just suggesting some of the foliage that's getting a bit of indirect light. And it's certainly and ask cool color but just breaking up the a dark area. But as well, shutters tend to have a lot more life in them than we noticed from photographs. So I know that. And yet I'm just using a brush to soften up some of the marks. If they were standing out of the to boldly a draw brush can actors and he raised there just to take the edge off touches off dark green once again, just suggesting shapes in the LAT and a few little sparks off light here and there. Well, who can resist putting a bit of that in? And of course, some dark purple purple always featuring and my shadows and pistols come in such lovely purple colors and really does transform and enrich the shadow shapes in your paintings. So put a bit of that in. This is sort of, ah cobalt ultra Marine and also in the scheme of the color relationships. It's Ah, last cool color, but quite vibrant packs quite a bit of punch as well and a few touches of Latin green adding a bit of using here and there still cooler than the yellow greens. But it really does add a a lovely touch off color and light as well. I'm not trying to overdo this, just building up interest, building up some layers and textures and also lending shape, too. The various volumes bushes, shrubs, trees that will have their own shape and volume, and the pistols hope to our plan that and define them a little more. Using some bright yellow lemon pastoral putting in shapes, squiggly lines, cross hatching, long lines, three clans, thin lines, it's just about variety, and it adds that little extra bit of interest to bring life into what could be a fairly flat area. That same dark blue touched off with some of the light greenish blues, and you can see it's not shouting for attention but it's there, and it's a nice bit of interest. This is a deeper yellow just enriching. Some of these druck yellow areas, as you can see, also do a lot of cutting in with the pastoral. So they help to, as I said earlier defined shapes. Now some of the essential light coming across the road, and I try to push this quite as much as I can get away with, actually but a distant hero perspective with the line violet, but as said in the road, really essential rate of the Lat basically using a white pastoral across the road there a bit of definition to the edges off these shrubs, and it forms a nice lights. Dark counter changed right at the focal area. As you can see, with the road and the docks in the distant road just on that subject again, it's going to be much cooler in the distance than it is right in the foreground. You can already see that and what is a cool color, of course, but some of the warms underneath the water color are helping to add a touch of warmth to that white. Otherwise, it could be quite cold now, working into the shadows, dark towards the base of the shadow and then lightening up as it crosses the road. Yeah, I am smudging the past a little just to in line with the nature of the shadow. I think that's I don't want too much texture in the shadows. Waking up the shuttle shaped into slightly more interesting little spots off color. Just that de port light that you expect from a scene like this light coming through the trees. A few spots here and there, using a media Mueller and bringing in a lot more warmth in the foreground road, just building the layers up. So I got a yellow water color, then pistol, and now some white pastor, which is going to mix in with that yellow woman up a bit, but also push the light dark contrast. I want no doubts about the light across this road direction lines riding the foreground. Those are pretty strong as well, so your eye knows where it's going and a few little sparks of light here and there. Now, in the middle distance, we're dealing with medium, um, light, not as warmers in the foreground, but still quite strong and are establishing color were required strong, deep yellow right in the foreground, making as much use as I kind of liked or count to change against the shadow areas. Softening that white up with a bit off lemon yellow. Few sparks. I call them sparks. Whatever you are calling harlots and sings off color something perhaps a little unexpected . The blue coming in cerulean top of blue but cools down these shaded greens as well, Very nicely. But it also is an interesting color, and using it in this part of the painting bring some fund and eye catching color into it. A few dabs and spots of that in the road, re establishing some of the docks on the left. Here, just a little fun. A few dog X cents suggesting stones and marks in the road. So it's not just lattes. It's also the darks working together. So have them both in your paintings, layering a little bit off warmups alongside the shadow. There Shadow is getting soft hairs. They move away from the object, costing them lovely, cool blue really delight to, But these colors in against all the complimentary yellows, oranges, deep yellers, Perhaps it's more accurate. Of course. The purple as well. Doing great work, Onda. How about little figure destroying it in with pencil? I had some scale at a bit of life into the painting. I'm just going to little blue shudder They with pistol and there we go. Sign it off. Overall, I'm really happy with us. I really like the light in this painting. Andi. 20 quite smoothly. I didn't have too many on a pleasant surprises. So tape off and there we go. Try this approach out for yourself and have fun with your painting. 12. Village Road: Part 1: Okay. Now, as far as getting started with your painting is concerned, I don't stretch the paper because it stretches after usually the first wash. So our tape on the paper and simply get started with my composition. For if I Am's during landscape scene, I've tried to work out compositions in a note book. First, I always try and do that. So all work out compositions like this, lots of darks and on the main thrust off, the composition off worked out like this already. So when I get down to putting the composition on, I've got my reference. But I was on one side, but I can use this to get the big mask shapes quickly placed. Andi. I don't want a fuss too much about it so quickly. Get those in. So the composition done, and now it's time to get in a wash. So what I'm going to show you is the process for handling color in just about every, um, and just about every watercolor that I do. So let us say I'm doing a landscape scene that's going to be quite a warm scene, so I will start with a generally a warm wash first things to consider is all the parts off this painting that need to remain as light as possible. You can use masking fluid. You will see. I do use that in some of the upcoming demonstrations. So if there's something unless to remain absolutely, why bring in some masking fluid? But I'm not going to do that in this case, because in other instances I will just use tissue paper very quickly. So this is a warm landscape, so I'm gonna makes a warm wash using some deep yellow lots of water and just get rid off the white. That's just start that in other mediums, this would be called turning Your Canvas, but in watercolors is applying the first wash. Andi, I see where want womb. I know I'm going to have somewhat of a year somehow. Lots too quick movements like that and get a stumbled look already or may decide to leave it completely. Andi, leave that What? So we're on. I'm going to bring in docks. I'm going to be simply going over this washing, darkening it as I'll show you just know for a start. Let's just get get the warmth in Okay, so that's your first wash, one of many. Now where we went, what? And if I haven't reserved it, I won't use tissue on just get that in. So maybe that's building sticking up there. Andi, I want some whites in the road over here, so just quickly get Thursday marked out. So anything like this may be a top of the warriors. Getting means a highlight or use the tissue. That's about the only chance to use tissue. In other instances, are used tissue to soak up cools off water farm working in a hurry. Okay, so now the paper is getting wet and I'll get that drier. But But in this instance, I'm going to crack on and just to fill you few typical techniques that I'm going to be using in water color. So, like I said, if I'm going to be, if I have some areas that are going to be in shadow or generally a dark reach for the Blue Oaks Marine bit of a lizard in in Turton Mike a transparent purple like that. So, yeah, there's going to be some shutter coming over. Andi, get that in. All right, so I immediately start getting some of the dark's in, and I said, There's a bit of runs. It all depends Sometimes are let it run at times. I don't just depends where it's running to. You can move the You could do things to move it around. But if it's not important, let it run. Sometimes you get lovely effects if you do that. So, for instance, honor that a lot of trees here Andi was. These are cool docks. We're bringing those in trees of year. There'll be darks there on I like the blue and the lettering combination to give interesting shadows. And I work on the shutters again. It's not the lost time. Andi, just get these shapes roughed in, so you'll see as are working. Demonstrations get darks and very easily like that. I'm not too worried about some of these runs. In many cases, I'll be going over areas with pesto LA's Well, now here's a some collection off water puddling up. I don't want it. I'll just get rid of that with the tissue paper. Okay, now mixing colors. Let's so I want some green. So it was gonna be a cool green. I get some lemon. Andi clean the brush. Ralph. It's a Mueller limiting their Andi. So there's two things you can do. You can put the color straight on, so get me some limit on there, and then you can go over it with some blue Andi. Depending on your colors, you can get greens to mix. Or, of course, you can mix the green on your palate. So Andi, but create the greens in the typical fashion of just mixing them on your palate, huh? And you can build up those layers or leave them transparent. It's up to you. Um, I've got a little bit off green. Yeah, I used some green out of a tube yellow green transfers needed that color. That's mostly on the yellow side, but a blue I like dark green and some more layers where I need that. Okay, be careful. Mixing green with purples and violets can get muddy, so remember basic color theory. Complementary colors mixed together will de saturate very quickly, and if the mixes are too similar, they will become quite muddy. So this would all constitute a first war and typical painting terms it calls a block in first stage block in normally I'd let us not just certain dry and settle down and then come in later on. And when it's dry, drop in a few more darks, get some exciting things going on. Reestablished dark, sort of lost any and most important as well. Look out where I got shadows on Get those shadows in a swell Marcin early. All right, so there you've got your first wash, you've got mixing, and as the painting develops, you can build up layers More detail as required spirit colors a mountain in the background . Start getting us shapes in. Okay, it's going to be a roof over here. There's a window of a house if you like the color of my just drop it in somewhere else. The best parts of water color actually happened When you know planting. Just leave it alone. All right? So I can let that sit for a while. Little dry. If I'm worried about things running, I could just lower it. But as a few puddles are not happy with, just catch those now while its weight, if I see something I didn't like, I might need to get rid of. It may be unwanted to bring in a some lights over there, just little things like that. Otherwise, leave it learn and come back to it for the next layer. 13. Village Road Part 2: right in Stage two, we're going to finish the what a color wash stage before heading on to past ALS. So with us section Tron work fairly quickly and get in as much water, color and layers as it is necessary that when I get to the point where adding more water color doesn't really make too much of a difference, that's when I move over to the pistols. So getting in a bit off cerulean blue into the sky for but more life in that sky area and trying to add form that's one of the main things with the section is getting some form and volume to the shapes and making sure that the darks and shadows are well established. Shut areas and the docks are the things that give a lot of impact and or so volume to the various shapes. So you can see with the reference I'm using the reference as a guide, only trying to add my own touch off color to the scene, and that is what you need to do as well is. Don't be a slave to your reference. Use it for structure and composition and to stimulate ideas. But with the color palette that I use that I try and give as much rain to that color palette as I can to make exciting colors. Say I'm using bit of civilian plea, which I think it adds a nice touch of cool to the shadow areas. And it also has a bit of a zing to that blue, which I found quite appealing and works very nicely with the doc ultra Marine and a listen , purples and violence or complement each other very nicely. And of course, you can already see the yellows and orange is starting to work with the blue, and that's a big plus. My splash off or in There's a suggestion off red plants in the reference is, Well, not quite making it out in the photo, I think. But it is there and as a really nice touch, also the warmth in the war, bringing in a nice counterpoint with the cool blues, of course, pushing the oranges and burn Ciena's and yellows a little. So they going to be working with the cool colors, I think, washing their off orange reddish orange that brought some orange and Eliza Rin involved there, and now you can see the across on the right. There have gone over the cooler Liz ruins and violets and the transparency of the water color having a real advantage as those colors work together. So we're not dropping awash in one place. Then move over to the opposite side, carry those colors and spread them around. And then I'll come back to that wash again and drop in some more color. And this is how Atran build up some vibrancy. Of course, I'm gonna being passed ALS into its. Some of this water color is going to guard me in my application of the pistols, just getting some more strong dark in the base of this war. I just need a little bit more warmth in those distant hills, trying to keep them quite soft and transparent. And push those heels back for the green definition in those trees, catching some nice bit of light. So trying to keep that, But the side of the road is catching more direct light so it will be warmer and notice the road is not, um, geometrically straits. So break up the geometrically straight lines. I have a slightly crooked road. It just makes things more interesting. It's that whole concept of asymmetry that appeals to appeals to our vision off most subjects. I need to get in some foliage of yes or starting off with the latte Lemon yeller going over it with a little off ultra marine blue mixing together to form the slot, but a green texting the road as well. Are these trees on the writer actually eucalyptus trees, catching some lights, others a warm side to them as well. And I have to bring through. I'm really enjoying this surreal Ian Blue. It's working so nasty little orange warm colors, so dropping some more of that into the shadow areas, strengthening up those shadows a little bit of extra color into the sky again. So, so far, this form the base off the painting going forward, I think, a good mix off woman and cool color and lights and dogs. So should be able to set things up nicely for the forthcoming pastoral stage 14. Village Road Part 3: that's starting off the pastoral stage off the painting in large part of the past, for process for me is giving form to the water color shapes and working in the dark and shed of areas. And you'll see that in the docks, on bringing ultra marine blue, various purple colors, violets and some of the dark browns as well, where relevant. And this is just a way off, making on the shadow areas more interesting, and they set off all the light. What ultimate goal is to make a painting that is full of light, But to do that, I've got a pull off the darks and the shudder areas successfully, and you'll see how these blues and violets are going to be playing nicely against the oranges and yellows. In this painting, this is a major part off this painting is the complementary relationship between yellows and violets and blues and oranges. It's a womb sort off color palette, but once again, one that relies on the cool colors to really stand out. So I look at the picture overall, Andi Tron works through it, Um, more or less. The whale would do a painting. Just see seeing areas that can benefit from some attention, perhaps, but more definition, maybe stronger color. Yeah, put in orange, but you need to bring in cools and lots. Mr. Is that cools and darks to tone down parts of the orange as well. So a lot of the pistol application is these lines that I showed earlier in the course, making marks maybe cross hatching but leaving space for under or colors below to come through. And it's this combination off colors. That is something you must focus on. I don't unless you really have to try and get rid of all the layers you put in. Let them come through your on there. Andi. It's that combination off colors, working in harmony with each other or and information ships. Either there's a compliment relationship, or there's a harmony within the shadow family of colors and in the light family of killers See you in the wall. There's so much texture that I want to bring that art, especially in the full ground part of the wall, so they'll be quite a lot of work coming into that. This war has been given prominence to pull the into the painting and also is a nice counterpoint. Tual. The foliage shapes that are all around It is just a case of building up texture. Different warm colors oranges, reds, browns, yellows will come into it. And, of course, the highlight. Broken lines or two. A tractor I but not be too regimented either, giving some vibrancy and strength to the tree shapes in the distance. So a yellowish green pastoral it comes in quite useful course on a sucker. Put it putting light colors against dark on this fund that an attractive thing to do. You're strong touches off yellow lemon and NASA cross hatching with deep healer, getting that lovely, warm texture into the wall so you'll notice the reference is a guide. As I've said before, it's a guide, not something you have to follow. Slavishly. The colors are expressive. The reference for me is all about a composition that is pleasing. It's not about following all the colors, too. Photo realist degree at working a little bit on the road and the distance, bringing in some aerial perspective qualities, just suffering up a few lines in the distance. They. Some of those shapes need to have the edges softened up a bit violence and other neutral colors in the same way you would do with the painting. Bring those neutrals in with the pistols. Some warm colors in the sun fold side off the road. So what I'm doing here is bringing some of the cooler violet into. Those wants warm warrant colors in the distance to create aerial perspective, so don't be cooler in the distance. 15. Village Road Completion: all right. Final stage of this painting. What is turning out to be quite a challenge? One of the areas that I'm gonna be working on is the right inside, but now it's a bringing some light into the road. Some direction lines musing a neutral like neutral color Onda dragging sometime mast thick lines in the foreground. The road must try and come up to you as it were so thicker. Strokes in the foreground and warmer. Kinda and cooler in the distance, of course, bring in but more warmth on the sound of the street. Getting the light. I think that's Morville, Acura getting smashed warmth in the foreground, carrying that's over into the tree trunks, catching a bit a lot on the right and side. I need a lot more dark in that area, so I'll be coming back to that. But just taking light all over by the side of the road is getting direct light, so I need to bring the light cross back into it, just scribbling and scum bling it in few touches in the distance. I'm just going to soften up some edges on the mountain and in the sky, make it a bit more vaporous, more atmospheric and using a lot violet pastoral for that very much a neutral color, some scar holes and was a similar treatment on the left, some lots to just to just the value of the sky. Lighter again and, ah, touch a light blue at the top just to suggest him and talk on the arc of the sky. Little figure just for some scale. Now bring back the water color because I need to get quite a bit more dark into this into these eucalyptus trees. So using some dark green ultra Marine Mueller Deep Pyotr making a door cream also some lighter blues for the trees just a bit further ahead. Once again, that's blues will work with the oranges, re establishing some of the docks on the left and using a sort of ultra marine. And what's a mixing in some of the dark blue pastoral. Just dissolving that as I go along are very often have to restore bish darks in paintings, so this is just part of the process now some strong orange burnt orange of those eucalyptus trees, bringing a but more of that all over the painting. But especially in the war. This wall is an important part of the painting. Strong lead in with with color trying to keep it on the cooler side, but lots of texture. That's important. So letting a bit of water mixing with the past. ALS underneath. Nice touch off a soft green, distant trees there and I'm gonna drop in some oranges greens typical sort of orangey eucalyptus green on going to let that just makes its own way. And but more surreal Ian blew into these shadows are I do enjoy this color, perhaps a little too much him, but just having a re look at the shadows extending a few of them. It's a lovely, soft, shadowy blue so perfect for this job and, of course, a good complement with the yellows and oranges in the shadows forming such an important part. Two. Sort of just slow the I don. As it moves along the road. Onda, cerulean blue amongst the darks, suggesting some tree trunks in shed. A very nice color. This so I'm dropping it in your on there. It gives us sort of harmony to the painting. Maybe I'm using it a bit too much, but I'm committed. NASA press on and we'll have a look at the end and see it was a well with that or not on a spit of burnt orange and a misery, it going colors through Arthuis Painting now on the oranges around the house sort of occurred in the warrior, now just using some water on the brush to make sort of stone like shapes in the role. Once the water colors drive back into the past. ALS bringing some aerial perspective with some light violet in the distance some scar holes breaking up some flat it'll solid color. So that's always a balance between light and solid. Warm. Cool. Give some more punching these trees of their but off right in the tree trunks and just Debs . Now flat and final color Moz break up some of the shadows of the few touches off clean lot a few holes showing through there, son off the painting. And finally, it's over. It's been an epic painting, actually, on its see if Hart looks with a bit of a border around it. Overall, I'm happy with it, and I hope you enjoyed watching it and learn something maybe I ever did a few things, A ZA said. It turned into quite a long painting. But I think it's going to look good in its frame, something interesting and different, so I hope you enjoyed that one. 16. Conclusion: okay, end of the course, but hopefully the beginning off some exciting new painting for you. I hope you used these ideas and techniques and bring them into different projects that you going to be doing. Whether it's journaling, urban sketching, final professionally, amateur doesn't matter. You can bring all of these things together and create beautiful paintings, even if it's a break from your preferred technique. Maybe you paint in oils a lot. This watercolor and pistol will make a beautiful way to take a break and get your mind thinking and different things and energize and bring out new ideas. So have fun with it. Try out some of the exercise ALS, and you can shoot the results with me as well. So happy painting and we'll see you in the next course soon.