Watercolor sunsets: How to paint skies and capture light and atmosphere with ease! | Anne Smerdon | Skillshare

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Watercolor sunsets: How to paint skies and capture light and atmosphere with ease!

teacher avatar Anne Smerdon, award-winning watercolour 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

8 Lessons (39m)
    • 1. Introduction

      1:35
    • 2. Selecting the right materials

      3:24
    • 3. Accurate drawing techniques

      6:29
    • 4. Painting an effortless sunset wet on wet

      9:21
    • 5. Painting in the foreground wet on dry

      12:39
    • 6. Make it pop with details and highlights

      3:41
    • 7. The big reveal

      0:33
    • 8. Final thoughts

      1:13
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About This Class

Have you tried to paint a sky before in watercolor but it’s gone horribly wrong? Did it end up streaky, filled with watermarks or just simply dull and flat looking?

You’re not alone. Sky scenes are notoriously hard for watercolor beginners. But they don’t have to be! In this class I’ll show you the exact methods I use for painting sunset skies in a matter of minutes, without even breaking a nervous sweat!

By the end of this class you’ll have a frame-worthy, picturesque painting of the Eiffel Tower at dusk. But far more importantly, you’ll have the skills and knowledge to more forward and create any sunset scene of your choosing!

You will learn:

  1. How to draw accurately - the basis of all good painting!
  2. How to effortlessly capture sunlight and atmosphere in any scene you photograph or sit down to paint (it’s so easy!) The key is to “suggest” rather than paint exactly what you see. I’ll show you how to do that.
  3. How to paint a watercolour wash
  4. How to work with two different watercolor techniques: wet-on-wet and wet-on-dry
  5. Which brush to use and which paper to use and why the #1 mistake most beginner watercolorists make is using the wrong materials!
  6. Why you should trust your watercolor and use minimal brush strokes
  7. How to stop overworking your paintings and let go of perfectionism

Who is this class for?

This class is perfect for beginners or for those already using watercolor but who find they’re just not quite getting the results they need. I’ve tried and tested this project with my local Artory Art School students and the results were fantastic!

Meet Your Teacher

Teacher Profile Image

Anne Smerdon

award-winning watercolour artist

Teacher

I’m an award-winning professional artist (view my works) and art teacher from Australia. I’ve been using watercolour, oil and charcoal for 10+ years now, exhibiting and selling my work both nationally and internationally. I’m known for my loose, effortless-looking watercolours and my realistic oil paintings of birds. I’ve won awards, been represented by commercial art galleries and sold my work to high-profile collectors. But the thing I’m most proud of is my art classes!

You see, I’m proud of breaking the stereotype that “some people are naturally creative and some people aren’t”. There is nothing more satisfying than finding someone who “isn’t artistic” or who “can’t draw a st... See full profile

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Transcripts

1. Introduction: Hello students and welcome to today's watercolor class. I'm ends murder and professional artists from Australia and I'm here to help you to paint a sunset Seeing. Have you ever tried to paint a sky or a sunset before? And it's gone horribly wrong. Perhaps it was streaky or you had watermarks in it, or it just look dull and overworked. Don't worry, you're not alone. Many people when they first try painting of background in watercolor, face all of these mistakes. But I'm here to show you my exact methods that I use to create beautiful, effortless and easy watercolor skies. Today, you're going to end up with a finished piece that is ready for a frame. But you're also going to learn some invaluable skills, such as drawing accurate joint, which is the basis of all good painting. You'll also learn two different watercolor techniques. Painting wet on wet and wet on dry. You'll also learn how to create a wash that doesn't have streaks or watermarks in it. And you'll also learn the most important thing had a capture light, and atmosphere with your watercolors. It's a lot easier than you think. But to start off with, we want to get you set up for success. So let's have a look at the materials and how I want you to set them out so that you're ready to paint easy and effortlessly today. 2. Selecting the right materials: Today we're going to be working small on A4 size paper. It can be hard to go bigger at first if you're not used to doing a wash or a background because there's a lot of water and there's a lot of pain and we're racing the drying time. So if you keep it small, about A4 size, that's going to make a big difference to your success. The paper you use has to be good quality, particularly when we do a landscape or a wash for a sky. I'm using 300 GSM Arches brand. And this has got a medium to rough texture. So watercolor paper is treated with a sizing like a starch that helps it to be more absorbent. But the starch can be applied different ways. It can be soaked on or sprayed on. So it does make a huge difference. The price and the brand new use of watercolor paper. I've written a whole article on this on my artery website. So check out the blog if you want to find out more information about the brands that I recommend and the truth or the texture of the paper as well. The brushes you want to use today should be natural hair brushes. They can be cheap goat hair brushes, or this hacky brush is great as well. But there's a big difference between a natural hair brush and a synthetic hair brush. And again, I've written about this extensively with photos of different brushes and the ones that I recommend for price. I've written about that on my blog, on the artery website. So check that out if you're not sure which brushes to use today. You'll also need a jar of clean water. Your drawing materials, pencil and eraser. Some artists budget tissue paper, which is what I call toilet paper. Or you can use a sponge or a cloth as well. Some take just a cheap brand of masking tape is fine or special watercolor tape. That's going to create that delicious right edge border which looks so good compared to our loose flowing water color. You want and put that, take that onto a board and have a couple of books or some blocks underneath your board. So that's going to give you a nice angle and that will help the watercolor to flow gradually towards the bottom. We want the watercolor and gravity to do the work so that we don't have to say get yourself a nice hard board or a big book that you can take your watercolor paper onto. You also want a palette that has some big reservoirs where you can create a nice amount of watercolor wash. So even if you use a bowl or big kind of lead that will define if you don't have a palette like mine. And the colors that we're using today, a lemony yellow or equivalent, ultramarine blue and Alizarin crimson. Now these colors need to be good quality because these are what we're going to use to make our dark. So we want them to be nice and strong and intense pigments. And you'll also need a whitewash or titanium white watercolor as well. And that's all the colors will need today to create our artwork. So go ahead, get yourself setup, grab a cup of tea or a glass of wine if you want as well. And we'll start the drawing. 3. Accurate drawing techniques: So to start off with, I have taped my paper to the board and in my half my reference right next to it. So I can quickly and easily flick my eye back and forward as I'm drawing. If you'd like a ruler, you can use a ruler to start off with this, but you can also just do it freehand as well. The first thing we're going to do is put in the horizon line. And notice that it's just a small sliver at the bottom of your page. I'm just going to put that in freehand about here. It doesn't have to be perfectly straight at this point. We also want to put in a straight line down the middle of our page. That's to make sure that our Eiffel Tower is nice and straight and it's not leaning to the side. And putting these in nice and lot because we will rub some of them out later on. Now, our Eiffel Tower is broken up into sections. So if you notice, the height to the round bit is about the same as the height of the next section, about the same as the height of the next section and so forth. So that can help us to fit in our Eiffel Tower into the whole picture and make sure that it doesn't end up running off the top of the page. So the first circular transport with his hand, is it about that high? And you'll notice that the width of it is about two lengths of that. So if we start off with the height and our width is going to be two widths of that. That's roughly asked dotting sacral might make it just a little smaller so that we don't risk going to big off the page. We want to match the angle of the Eiffel Tower. So the way I do that is I make sure that my picture is nice and parallel to my drawing paper. So it's not like this or like that. It is lining up perfectly. And then I just use a ruler or another pencil. I'll use a pencil. It might be easier for you to see to match that angle. And then I bring that over onto my page and line it up to the same thing for the other side. Match the angle of the Eiffel Tower with your pencil. And then very carefully bring it over to line it up on the other side. Now remember we said that the height of that first section is about the same as the next section. So we can use that measurement to work out where this ballast straight is going to see it. So it's roughly about the same quiet. And that's sticking out past the curve a little bit. So let's give this a little bit of a curve. And this side, we have our central line there, so we want to make sure it's about the same width on either side of that central line. And remember this is just the drawing. So you can do as many lines in as you like. Doesn't have to be perfect. We want a watercolor to do all the work. So as long as we have an arcade drawing that will be fine with incur to add in that little bit of a ballast stride, which is just sitting outside of our frame. And a nice flat line to turn that off. It's okay that this one's looking a little skinnier than that one. I don't think that's going to be too much of a problem at this point. We then have about the same height for the next section. So we'll use that as our starting point. And we're going to try and copy this shape here. So it's a slight curve. And even on either side of that line, a slight curve. And we'll continue this up. And then the next section is a little bit of a book sitting and then we'll just draw it as a rectangle for now. And then a little bit higher than not. Is the top are about equal tau, sorry again, follow those lines up, making sure that they even on either side of your page. And as you get to the top one is just going to fit in. We're just going to add a box at the top and add some little angled line coming back down. There's a little extra books on the very top of that and we'll just draw it in as a few lines for now. So now we can rub at asks into line. Jeff leaving the central line at the very top. For the spike on the top of the tower. There is a couple of little buildings at the base. So what we're going to do is just draw in a nice little flat rectangle and then two slightly higher skinnier rectangles. On either side. We've got a couple of lines of trees on either side as well. So we'll just put them in as angled lines for now. Then we should be ready to paint. That's as much as you need to do for your drawing. But remember, we're going to get the watercolor to do the work. So leave that then, make sure your lines are fairly dark if you need to go over them to make them a little bit DACA, we are going to put all of this guy in the top. So if your pencil lines are too light, when you put your sky, if you weren't able to see your beautiful drawing anymore. So feel free to make them a little bit darker. Just start make these treeline DACA, because that weren't end up being a straight line. It's going to end up being fairly funny. 4. Painting an effortless sunset wet on wet: Sorry to start off with, I have placed my board on a little bit of an angle about 20 degrees because remember we want gravity to do the work and to help the water at work down the page. I've also got my clean water ready and my palette. I've just cleaned out a little reservoir here so that I can make a nice wash in that area. The good thing about watercolor is you can leave your paints dry in your palate. There's no waste into just reactivate them with water. The only time I ever clean my palette is when I need a nice wash like this to do a sky. I've also just folded over some of my tissue paper. So I've got a little area where I can dry my brush. And I'm starting off with my hacky brush. But you can use any other natural hair brush that's going to hold lots of water. When we do a sky wash, we always start from the top and work our way down. So I'm going to get plenty of water on my brush. Starting from the top, painting side-to-side, and working my way down. So depending on the Papi use and the brush you're using, it's going to hold a different amount of water. You might need to work quicker or slower. The better brands of watercolor paper will have better sizing and that will give you a little bit more time to work on your wash. The pre reading the paper does help with whatever paper you are using. We're just going to stop at that horizon line. You can tilt your head to see if you've missed any spots. But you want to try and do this and as few strokes as possible and not keep rubbing or working the paper because while it's wet, That's really going to agitate the fibers of the paper. And it will make it work differently. It can even make it pill a little bit. So to start off with just a bit of ultramarine blue, I'm starting from the top and working my way down. I'm going to go to about a third of the way down. And then I'm going to rinse my brush. And I'm going to switch to an Alizarin crimson and I can just mix that straight into this mix here. You want to make sure you don't go too dark with this watercolor. And I'm going to switch to my lemony yellow and go from there down. Don't worry if you have some hairs and your brush full out, anything like that, just leave them. You never want to go back into a wash and touch somewhere in here. You always need to start from the top and the bottom. And that's exactly what we're going to do now. I'll clean out this quickly because remember we're working against the drying time. He'll get a little of that ultramarine blue again. Maybe just a smidge more, but I don't wanna go too dark. And I'm starting from the top where I can side to side. And this time it's going to help to blend those colors so that doesn't look so stripy. Going to keep working my way down to the bottom effect. Now I'm just going to leave that head there. I'm not going to touch it. And now what I'm gonna do is switch to my normal RAM brush. And this time with just enough liquid on my brush to make it flirt, going to get a big dollop of what? Wash, a big dollop of my shimmering blue, and a big dollop of my Alizarin crimson. This is going to be four lads. So you want to quite thick so you can see my palette, it's not running at full. And we're doing a little bit of a zigzag shape here. Sorry, I think about doing kinda angular lines. It'll dashes and dots and a long stroke. You never wanna do even clades. So don't think about citizens or cartoon clouds or anything like that. Just a little bit of liquid to help it floored, but it's quite thick. I've added a bit more red into it this time. So as I go down, my clouds are getting just a little bit more pinky. Maybe a little bit more watch. And you might think dark clouds, that seems a bit strange. But next time you're out on an overcast day or even a sunset day, have a look and I think you'll find that clouds up often darker than the sky. Sorry, that might be enough there maybe we'll do just a little orangey one at the base. Circle surges a little bit of yellow into our mix here, right? You just add a little bit of a yellow one. Is always the risk that we overwork a picture. So you don't want to work at too much just to enough. That's probably over-working in a little bit. But hey, remember it's just a background. It's going to set off our hotel. But while we don't have the Eiffel Tower in there, this is going to look really dramatic and really strong. So just trust that it'll be archived once we put that life on talent theme. Now you can see at the bottom here I have a little bit of a bead of water. That's where the water is cooling because the angle of the board is dragging it down. So just with a dry brush, I'm going to suck those little lines up. And while the paper is still wet, That's when we want to put that trees in. So I'm going to get some of that blur. And how red together we can just use some of the mix that we already have on our palette. And I'm just going to paint in those trees where we put that triangular shape. And you'll see that they will follow up with and I'm going to help it. Sorry, I'm not going to follow my striped lines perfectly. But I also don't wander even bots. So I'm gonna make one big lump here and maybe a couple of little ones they are. And I'm going to do the same over here, sorry. Break up that edge so it's not a straight edge anymore, even though we've drawn it as a straight edge. And that's really a lot. We want to go a little bit darker. So I'm going to clean out my pellet where I had the white in it because the watt is going to make it white. I'm just going to use nice pure blue and red. So I altering ultramarine blue and Alizarin crimson, that's going to make a lovely deep purple. And I'm painting that at the base. So it looks like those trees or bushes and night and back-lit, they're a little bit water at the top and they're a little bit darker color at the base. And now I think our base is dry enough. It's still a little wet, but it's dry enough for us to put in that notch. Ground colors are again, more purple. Purple is what I use for all my dark turns and more blue and more red. And you can see on my palette it's quite thick. We're going to add a little bit more water into it so that we can cover this area. So a little bit of water. And I'm going to do a little mini washes are again, starting from the top, rocking side to side. I'm going to work my way down. So when you see that scratching us of the paper called scumbling, it's a great effects for leaving lot glistening on water. But in this instance we don't want it. Sorry, that just tells me I need a little bit more water on my brush to help bring that color all the way down to the bottom. And then we can let that dry. And once it's completely dry, then we can start to paint in this hotel. So let that dry half a cup of tea or a glass of wine, rinse your brushes out or pay your palette for the next step. Maybe give it a little claim just in these little reservoirs. Squeeze out any more paint that you need. They're going to be getting quite dark and speaker behave. So you will need a lot more Alizarin crimson and ultramarine blue eyed squeeze out about a PE size. 5. Painting in the foreground wet on dry: Okay, now my paper is dry. I'm ready to paint in the Eiffel Tower. Now if you've come back and you paint has dried and you had to look into some funny little watermarks. Like for example, he, I had my hair out of my brush and it's left a little shape and perhaps I waited a little too long and the paper has dried a bit with some of these shapes. Don't panic. It happens to the best of us. In the case here where they're a little bit funny shapes that they're mainly behind the Eiffel Tower. That's not going to matter. And then we've got little shapes outside in the sky that might be an issue. There aren't more. I'll show you how to fix those as well. But to start off with, we want to get started on the Eiffel Tower. I'm getting squeezed out some fresh Alizarin crimson and some fresh ultramarine blue. And I'm mixing those together nice and thick to create a dark purple. And the reason why we're using a purple instead of a black is that the black really is going to be quite dull and you can get blue, black, and red blacks. So we're going to use the same colors that we've already used on the page that creates great color harmony. But also the tower, even though it's a silhouette, would have some white from the sky reflecting on it. So it wouldn't be perfectly black. So I've got a nice thick purple that I've made and it's got just enough water in it that it's going to flirt. And we're going to start off with some of those main shapes. So there's little balcony or ballast right up here. I can paint that in and it might have a little additional angled line going underneath it. Now, really, really try not to worry or be too much of a perfectionist He up. Because what's going to happen is the luther you paint, not worrying about perfect straight lines or anything like that. The more expressive an atmospheric this picture is going to be. So all that we're concerned about now is just getting the general shapes in. I'm putting thicker lines where I see thicker lines are, for example, down here it's a solid black line. And up here. And I'm just focusing on that at the moment. It's all solid up here. So I can put that in and it's absolutely vital that your background is dry for you to be able to do this. Otherwise you're going to get fuzzy Eiffel Tower. It looks like it's got mold growing older favorite, which is probably not ideal. So put your solid docs in where you see the solid docks at. Remember, derm worry too much about your lines. We want it loose and expressive. I think this middle line here, I can just thicken up a little bit. And what we're gonna do to create this Lycee metal tower effect is just to crisscrosses. Now I want you to do really bad crisscrosses or pretend you're in primary school and you're learning, running, rotting, and your teachers yelling at you because they're not perfect. Well, I'm the teacher, he's not going to be yelling at you. I want them to be imperfect. Says some thick something. You don't want a nice even crisscrosses. See how I've got lots of different shapes and sizes in there. That is exactly what you want. And you'll notice that it's a little bit thicker with less of the sky showing through up here. And as we come down. It gets a little bit thinner. So I'm just going to get rid of some of those highlights a little bit to the sky showing throughout. Then I'll do the same down here. So first of all, I'm going to give myself the edges of the tau. I might even put a couple of these side edges in. So we get a little bit of realism in it. And then we're going to fill it up with crisscrosses. Lots and lots of crisscrosses. And you'll notice that I haven't even read, dipped my paint back in my brush, sorry, back into the Pang. And that's because I'm using a nice natural hair brush, so it's holding plenty of my paint mixture. Only about now do I need to pick up some more paint. And again, crisscrossing, But really bad crisscrosses. All the ray going through all the way down, making sure I got all the way up to my edges as well. And then on this little balustrade here, we're going to do some crisscrosses behind it. And then maybe some lines just set the age. We're going to continue that down. If you need to make more paint, don't worry about color matching perfectly. You just want enough liquid to help it to flow. But the key that we're looking for with a nice dark color. So here I'm going to put in a double line so that we get a little bit of that three-day depth happening and maybe a little crossbar here with some crosses in that. And then again, repeat your crosses. You'll notice as we start to go down, There's a lot more sky showing through those crosses. So we can do them a little bit more open and not fill them in as much. So you can use a thinner stroke or just not spend as much time in the area. Curve all the way through that Bella strain. And then while with it we'll just put in some little posts. Don't have to be perfect. And then work our way down. Now as a guard down into here, we're going to let that tau just fade into the bushes. So what you can do is paint that in. Just clean your brush and just with a little bit of moisture on your brush, just soften the edges. So they just dissolve a little bit into the trees that we've already planted. And just whether the amount of squish them out a little bit so they just disappear. That has to be absolutely dry underneath for you to do that. Otherwise, you reactivate some of that watercolor that was there. So I need to mix up just a little bit more color. And again, I'm not worried about color matching up perfectly. There can be variations in the color. I'm just going to put in a little hint of the second line of the towel. So again, we're getting that 3D element. And again, you don't want to be perfect. Just put in enough detail to suggest something. Watercolor is all about suggesting something, creating atmosphere and capturing the feeling of something, rather than painting that path quickly. So here, put in a couple of extra vertical or angled vertical lines and then I'm going to go back to my crease crosses and doing the longer crisscrosses now, as this section is obviously a little bit wider. And I'm just thickening up some of the inside bits where I'm not entirely sure what's going on, but I don't need to work out what's going on. That's the beauty of watercolor. You just want to capture the feel and not have to paint it perfectly. Maybe a few more kind of fix up here. And you'll see I'm getting a little starburst down there before they dry. Just rinse your brush, take most of the moisture off, and do what we did before. Before it drives are fairly quickly, just blend the edges so it fades off and joins up with There's bushes. Maybe just a couple more lines here. And a little bit of a line in there that should probably do it. So again, any edges, just merge them out and soften them. And what I'm gonna do is just get a little bit more blue into my mix. Now. Blues really going to make it look a little bit more shadowing. So I'm just going to put that Irv as some of the basic elements. The blue gives the feel that it's a little bit more dark. It's a little bit more in shatter. And maybe up on some of these more definite shapes, we can put that in there. And anything that you think just needs a little bit of extra x's, a little bit of thickening out. Maybe there'll be some extra balustrades in the background. Just paint them in until you're happy with it. Maybe bring a few more down into these trees and then I'll soften them, blend them out just a little. Suggest with a moist stamp brushes when the map, so they dissolve into those trace. Now we do have these little buildings at the base of what I'm gonna do is just get a little bit of that mix, but not as strong or colors or I'm just touching on the to10 age of the color but not getting a big dollop of it. And I'm just putting out over these buildings. And then as that starts to dry, I can use a little bit of figure PE. Say nice and pick this time because it's wet underneath. We don't want it to run too much so we use thicker paint. And I can just put in a little detail into them. So we don't want the data to be perfect. We want it to be fuzzy because it's in the background. So we're just making up what some windows, Latin, black. And just ignore my birds kissing away in the background. It's a rainy day outside today, so they're inside with me. Now. I think we can make that base a little bit darker to match up with the Eiffel tower. So I'm going to switch back to my bigger brush. Make a little bit more of that pebble got plenty of color and at this time, and we can just go straight over the top. And I'll show you a little trick for making these bushes a little bit darker as well. We can just paint them in a little bit. So it looks like we've got a second word of bushes. So it's fairly thick paint. It's definitely doc type. Rinse our brush and take most of the moisture off. So it just got a bit of a damp brush. And then we're just really lightly rub over that age. And then maybe rinse it again, dry it a little bit again and then just rub that age. So it's just going to help that edge to fuzz little bit. And we can do the same or behaves are always with a damp, clean brush. And then maybe a second or so on the edge of that section, just a little bit of clean water and just keep an eye on it. Sometimes that will dry, hit up with the water and leave a little hard edge. So we just keep adding enough water that it keeps that fuzzy edge on the end. 6. Make it pop with details and highlights: Once that's dry, we can add some highlights. But before we do that, I want to talk about how to fix a little things like where you might have the little birds to cover any mistakes you might have made there, I'm going to switch to a rigger brush, a really, really thin brush, but you can just keep using a nice small round brush if you want to. I'm just going to paint a couple of little m shapes. And maybe just funny little dots here and there to create some birds. So that's going to distract the eye from the little mock that I had there forever from a dry hair. And up here I might want to just hide a little bit of that as well. So the same thing, We want a few different varieties of sizes. So maybe one m. And then just a few little dots and dashes, maybe some even going behind the Eiffel Tower. So it looks like some little birds flying off into the distance. Now I'm going to use the same brush soon as I have it at. I'm going to clean it and dip it into some of our whitewash. I'm going to mix a little yellow with it as well. Maybe just a little pink. So I've got a really light peachy color, but plenty of Guassian it. And we want to make sure our Eiffel Tower is dry. Before we add any highlights on, such as tilting my head, it might still be a little bit wet. Let's have a little test. So I was just going to put a little lot highlight. Maybe just on top of the ballast straight. That's okay. It seems dry enough. It's not fuzzing too much. Maybe I'll just pick out a little bit to highlight. Just here and there. So it looks like it's, the lot is just reflecting a bit, making it look nice and shiny. Maybe even up here a little bit just on the edges. With highlights you don't want to do too many is always the risk that it doesn't become a highlight anymore if you put too many. So try and stop yourself and you get a little bit too excited with your highlights. That's Virgin on overworking it now. So I'm going to leave it there. I'm going to wait for it to be 100 percent dry before appeal this tape off. So if I peel the type off while it's still wet, there's a good chance it's going to route my paper. I'm up here, it's dry so I can demonstrate to you how appeal the tape off. Just pick up a little edge and you always want to peel away from your page. If I move this down, it should be able to see it. Always peel away rather than this way, peel away from your picture and gerne, nice and slurred just in case it does a little bit of your page. So I'll show you again on this side. You always want to peel away from your picture rather than across the picture. And peel slowly. Just checking that it's not ripping and I'm going to stop just there because I know these areas still a little bit wet. I'm going to wait for it to be a 100 percent dry. And then we finished. 7. The big reveal: Okay. 8. Final thoughts: How did you go, students? I would love to see how you went and to be able to give you any extra feedback. So please post your work to the project gallery and then I can help you. I love or a color and I love teaching people how to use it. So I'm here to help. So please post to the project gallery as well. If you didn't have any mistakes or it didn't quite go according to plan. Give it another girl. There's a term in watercolor that we use that's called brush mileage. That means the more miles you put on the brush, the more you understand it and get better at it, the more that your brain starts to comprehend how wet it is too wet, how thick the paint should be, how much time you should wait before it dries. So just give it another go. It's only a piece of paper. It won't take too long and you'll get better the more times you use it. And if you want any extra tips on what brush you should get, what watercolor paper you should use. Remember, I've put all of that information in my blog on the artery website.