Watercolor with Me: Beautiful Blue Skies | Jessica Sanders | Skillshare

Watercolor with Me: Beautiful Blue Skies

Jessica Sanders, Artist, Instructor, Designer

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13 Lessons (47m)
    • 1. Welcome

    • 2. Supplies

    • 3. Techniques

    • 4. Flat Washes

    • 5. Cerulean Sky

    • 6. Cobalt Sky

    • 7. Ultramarine Sky

    • 8. Three Blues One Sky

    • 9. Sweeping Sky

    • 10. Cold Vs Rough Paper

    • 11. Blue Sky On Rough Paper 1

    • 12. Blue Sky On Rough Paper 2

    • 13. Project And Thank You


About This Class

Hi, I’m Jessica Sanders, a watercolor and mixed-media artist who loves exploring art and sharing it with you!

Watercolor with Me:  Beautiful Blue Skies

Let’s paint beautiful blue skies! 

In this beginner to intermediate class, we will explore watercolor skies using 3 colors of blue.  Cerulean, Cobalt, and Ultramarine blue are go-to colors for artists painting skies! Let's learn more about these colors and paint some lovely, loose impressionistic skies. <3

Related class by Jessica Sanders:

Watercolor with Me: Glowing Cloudscapes


1. Welcome: Don't you just love beautiful blue skies? I know I do. They make me so happy. So how about you come along with me and we paint some watercolor skies together? Hello, Welcome to my skill share class. I'm Jessica Sanders. Color me greedy to art. Her color class will explore three colors often used for watercolor skies, including cerulean blue, cobalt blue and ultra marine. Will cover techniques used to paint skies in a loose and intuitive way, and then we'll start exploring our colors more thoroughly. We'll start by painting flat washes. Then we'll move on to painting individual colored skies. Next will pay its guys with all of our colors, and we'll try to fully explore their potential for painting beautiful blue skies. And then we'll talk about painting on rough paper just for fun. Addition to this class. There are seven different skies that I demonstrate for you in this watercolor class, so hope you'll come and watercolor with me and let's paint some beautiful blue skies 2. Supplies: Okay, So the supplies for this class are basic water color surpised. You will need watercolor paper. I happen to have genuine crafts. The brand is totally up to you, but the main thing is to have the 140 pound or 300 GSM paper. But this is the paper that I use in this class, and it's kind of special to me because it has my artwork on the front. So that's super cool. And that's because of a contest that that they had for a while ago. But I'm super excited about them. But this is the paper I've been using. I'm not affiliated with them or anything like that that they sent me some papers. My artwork is on them, and I wanted to try it out. So £140 is the main thing. That brand doesn't matter as much. Cotton paper is the best option, but this is would pull Piper, and it worked just fine for this project. The other paper I'm using in this class is a She's in watercolor paper. This is a handmade paper. It's cold press and has a rough surface, and I had a lot of fun painting skies with this. And so I'm also doing a couple of paintings on this kind of paper. So the brand I'm using is not necessarily the brand you need, but you just need a rough surface paper. Next, you will need watercolor paints. Now for this class, I did take out my blue pallet that I put together of Daniel Smith colors. You can see I have put together my own palette here of paints. Uh, these are full pants, and I used only three colors. I used ultra marine blue, cobalt blue and surreal yin. These air sort of often used by watercolors force guys. And so I wanted to just try out the different three colors and see how our skies turned out . If you use the colors of blue that you have in your palate, or you can always makes your own kind of blue, take one blue and add a little red or take one blue and add a little yellow to make it a little bit more green. You so play around with that if you want to. But this is just what I used for this class I used to brushes. Now you really will need a flat brush if possible for this class. I'm using a Princeton Neptune 3/4 inch rush the flat brush, and it's great for painting washes, large washes, flat washes, Grady and washes. It's easier to use sometimes for that type of thing than the round brush. You can use a round brush, which I also use in this class for my cloudy skies. And I'm using the Princeton Neptune size 12 which is quite a large brush. I want to keep it loose and flowing, and that's why I'm using this brush. Also, I like the texture when you push it with push against the paper it leaves. It's really nice. I'm using this one to paint the cloudy skies, and I'm using this one to paint flat washes of color, which could also be skies. You will also need tissue for lifting. You could use kitchen tell if you like, and you'll need a cloth for drying your brush. Always have those want that available, and you'll need to jars of nice, clean water. Two jars is better. One jars OK, but two is better, and those are the supplies for this class. Now let's talk about some techniques before we get started on painting our skies 3. Techniques: So let's talk about a few techniques will be using this class. I want to keep this simple and loose watercolor. We're not going for realistic. We're going for impressionistic in his class, and these techniques will work nicely with that. So let's talk first about negative shape painting. The idea of negative shaped painting means you paint the thing that's not the object. So, for example, in this class now, now we're not going to be painting this kind of cloud. But let's just pretend we have this kind of cloud shape. OK, and instead of actually painting inside, the cloud will paint around it, and that is the negative shape of cloud. So we will be painting organically around the cloud. We won't have an actual cloud drawn in the class, but for the sake of understanding negative shape painting, I'm going to paint around this little object. So instead of painting the cloud gonna paint what's not the cloud, and that gives us negative shape painting. There you go. So that's that's this. That's it. That's all there is to negative shaped painting. It's a pound painting around the object and the shapes you see around the object rather than painting that object itself. It's used a lot and watercolor because we like to save the light areas and the whites of our paper. So we're often painting things that are not the actual object that is the subject of the painting in order to make that object be the focal point. Now let's talk about lifting first for lifting. I need to lay down some color. Now your colors can be staining, and that means you won't be able to lift all the way to the white of the paper. It may leave a little bit of blue. A lot of blues tend to be staining, but that's OK. It doesn't have to be perfectly white. This is just going to be lifting to get the idea that there some clouds there so we'll take our tissue and we're going to make like a little puffball like this. And now we have a nice little puffball, and when we lift, we're going to touch into our paint and we're going to twist and turn our hand a little bit , and that's going to give us sort of a different pattern. Now we're going to touch lightly and go back and forth, and that will give us a little coaching and then feel free to turn it. Make a smaller edge if you need to, to create some small, wispy er areas. I didn't paint a big enough shape for me to do what I'm doing. I apologize. Okay, let's let's try that again. So I will find another area. My tissue. Make a little puffball. I'll make a little smaller this time, since we're working in a small area. So you might want to think about that, how big you want your cloud shapes to be, and I'll just tap across and twist and turn, and it will create this little cloud shape. Now I want to pick up more there because it's still quite blue, so I can go back over it again and and I can even do it again. Sometimes I will, like, focus more on the center area of where am blogging and lifting and leave the edges more fuzzy so you can see I still have blue on my paper because that blue is stating. But when this dries, I still have the idea that there's a cloud in this guy there. The way to lift is by sweeping your tissue or your brush across your paint, and that will give you the idea of motion or movement in the sky. So, for example, I'll just take the same kind of puffball that I made before, and this time I'm just gonna move it like this, and it may require more. So I'm flicking and moving, and it creates this motion shape like a wispy kind of cloud. Now it's a little bit harder to see in this small area, but it works. You could also use your brush for doing that so lightly damp brush no color can sweep it. Mine was too wet. I'll just drive that and pick some up so you could sweep it out. And when it dries, it creates a nice, wispy effect. In the Scott is if there were some wispy clouds and you could go back, actually sweep it the opposite direction. Give it that fight. Nice. Look there. Okay, well, let that dry. You can see it in the end. Now, let's talk about softening edges when we paint, our edges of our clouds were going. I'm going to be painting using a pushing motion with my brush. So my brushes almost flat and even with the paper, and I'm going to push and move my brush so that I'm leaving this edge, and this will dry as a hard edge because it's not wet, and this will also dry as a hard edge. But when we're painting clouds, we want some a mix of hard and soft edges. So what I would do is take it lightly damp brush. So what I've done is I've cleaned my brush. I've tapped it off quite well, and then I'm going to lightly push in and lift a little bit on Lee. This time, we're lifting with our brush to sort of make that edge disappear, and that's all. A soft edge is. It's just an edge that kind of disappears into the background. And you want a mix of hard and soft edges with clouds because they're fluffy and light and many, many things. You want a mix of hard and soft edges, so I'll just soften and I'm lifting and I'm gently pulling that paint back up into the area into the area where it came from. Really, I'm pushing that paint away from the edge, so there's like just a little light paint, and then I'm so it gives me a nice soft edge. So here you can see here's a hard edge, and here's a soft edge. Somewhere in here, that cloud disappears. We can't tell exactly where that's the way it is in real life, and it will give you a great impression of a cloud. Okay, we've already talked a little bit about brush movement, but let's talk about it a little bit more of these or key brush movements in this class. Now there are lots of ways to paint lots of ways to move your brush, and it's a good idea for you to practice and try out your brush and see how your brush works. So one of the techniques, as I showed you with softening edges, is to have my brush. I'm holding my brush near the end, my brushes almost parallel with the paper, and I'm going to push it and move it and to create the idea that there's a cloud there. Still, my brush is a little bit dry. I'll just add in a little bit more, not touching that area So that's one brush movement where I'm actually pushing my brush away from the edge that I'm creating for my cloud. It's negative shaped painting around the cloud. Here's our cloud area by pushing my brush away, laying down the color, and it creates a very natural edge. Not this is an unnatural edge, right? This is a child's version of a cloud, perhaps, or an illustrated version of a cloud. So it has not a riel. What a real cloud would look like won't have this exact kind of edge. That's, um, more like a symbol for a cloud. Where is the rial cloud is going to have a very natural shake edge and pushing your brush away and moving it will give you that edge. Now for our flat brush. We're going to be doing a flat wash with it, and all you're going to need to do is load of your brush. Make sure nice and juicy. Yes, I'm loading up my brush, cleaning it off here a little, and we're just going to make long, flat strokes just like this, and we may pick up more paint. I'm touching the paper very lightly and pulling the pain alone. And if you don't want a pool, you may have to push, you know, pull it back in painting. OK, so that's the simple strokes will be making with our flat brush to create some washes. So we can really see the difference between these colors. Right now I have all well, I have civilian here and ultra marine blue everywhere. ALS we paint our flat washes. You were going to be able to see so clearly the difference between the colors it might. It might amaze you. It kind of amazed me when I did it for this class. I was like, Wow, you can really tell the difference And it's it's really cool to see and the third type of brush movement I've already shown you when I showed you sweeping from this guy. But I'll show you that again right here in this area. So sweeping brush movement. I'm I'm going to. My water is blue, but cleaning off my brush, getting some of that water off, touching it on the side, Also to drive seven that water and then sweep it across again. You can go into or you can go away from and When I move my brush away over here, I'm going to my cloth. So I'll go so weak and dry sweep and dry or the other way sweep and dry again. See, that's going to give us a nice wispy look. These are the techniques will be using for this class and practicing. Feel free to create your own technique. She were You practice negative shaped painting, lifting, softening edges and different kinds of brush movement. I especially encourage you to try this softening edges and the brush movement here so you can kind of get the hang of it before you do your painting. Okay, let's get started with some flat wash disguise. 4. Flat Washes: Let's get started by looking at flat washes of our three blues. We'll start with civilian blue. Cerulean blue is often a go to for using for skies, and that's because it creates a nice soft wash of color. Now we're sort of making a flat wash, and in order to do that, I've using my flat brush because it makes the process easier and quicker. And I'm creating long, smooth strokes and I'll go back over those strokes as necessary and add a little bit more color, being careful not to add too much water into onto my painting. Because I don't want blooms and things like that. I'm going for a nice, even wash of color. Now let's talk about our cobalt blue. Cobalt blue is a rich primary blue. It's the most neutral of the three blues that I've chosen for this class and will give us a nice, deep, clear color. It can be used to give us a vibrant blue sky rich, and, as I said, it's a very neutral blue. It's not too cool not to warm sort of hits that sweet spot right in the middle again. I'm creating a flat wash just like they did with the civilian. I'm using wet on dry technique up, starting with dry paper. Sometimes people like to start with the Web paper to create this kind of wash, but I feel that for me it adds too much water, so I do wet on dry. Our third color is ultra marine blue. Now ultra marine blue leans toward the warmer side, leans toward read a little bit of purple in there, and it creates a nice distance guy. As with the other two colors chosen for this class, this is very common color to use risk eyes. It gives you a warmer, more purple e kind of distant feel when you're using this color for your Scott. So I'm continuing my flat wash in the same method. Wet on dry, nice, even strokes with my flat brush, not too much water. I'm going for nice and even know blooms or any special effects from watercolor. Well, let these washes dry, and then we'll take a look at the results. Now that we have these colors out of Arpanet on tarpaper, it's easy to see their differences. Cerulean blue is the lightest of the three. It's cooler which means it leans toward the green side of the spectrum. Cobalt blue is the closest to primary blue of the three. It's clear and vibrant. It has a wider value range than the cerulean blue. Ultra Marine Blue has the widest value range. It's warmer, which means it leans toward the violet side of the spectrum. Now that we can clearly see the difference in our colors, let's try blue skies with clouds. 5. Cerulean Sky: Let's paint a civilians guy with clouds. Now, as we talked about in the technique section, we're actually right now starting out by painting around the cloud, the negative shaped painting of the top of the cloud. Remember to use the side of your brush rather than the tip to create that edge. That will be a little bit more natural looking than if you use the tip of your brush and then we'll go in and we just soften the edges as we go. And now we're actually painting the shadowy parts of the cloud along with this guy. Next, we'll use a tissue toe, lift out areas to make that soft edges of the cloud and make it really light and color. So it's just going to have a touch of the color left after you use the tissue and will create the look of a cloud. Well, everything is still nice and wet. I'm dropping in war of our civilian blue color just to deepen it and darken it in the top and bottom areas around the cloud. I'm keeping everything very loose and flowing again. I'm softening more of those edges. I want just a few look really bright highlights, which would be the white of the paper. And I want everything else to be really soft. As I'm lifting with the tissue, you'll see me twist and turn my hand that so that I don't necessarily get the same pattern that I would by putting it the same way every time. I also turned the tissue once it's saturated in one area so that I'm not putting color back down on the paper. But I have a clean side of the tissue to lift out more of the color. And keep in mind that the places where we touched the tissue paper is going to be drier. So keep your eyes open, watching for hard edges. If you don't want hard edges to form, you may have to do some softening. And in those really wet areas, Aiken still add in mawr color just too deep in those edges and really draw your eye toward the center. 6. Cobalt Sky: Now we use the same techniques to explore our cobalt blue sky so we'll start by negative shaped painting around an imaginary cloud formation and using the side of the brush to create that nice natural edge. I'm using sort of a mid range mix of the cobalt blue with the water so sort of equal paint and pigment and water, that nice medium mixture that I that I talk about in some of my other classes. And you'll notice that I'm just dropping in color, dancing my brush around, letting it be loose and free and trying to get some nice movement. And there I'm going to continue by a soft Nixon edges and adding some shadows to this clouds. Again, it's the same process as are so billions guy, but now we're using the cobalt blue. Remember to use a lightly damp brush when you're softening edges, not lots of water. We don't want that at that time. Now. I think you're starting to get the hang of this, so I'm going to see this video up a little bit. But I'll continue with the process of lifting and softening edges, using the tissue to lift out areas for the cloud shapes and continue to paint this lovely Cobalts guy. So I want to show you the clean area of my tissue, how it's in a little circle there. So that helps me to create those fluffy cloud shapes and that also loved to strengthen those colors. I want tohave, a wide value range from dark to light. Whenever I do a painting, I'm just going to lift out a little bit more of those cloud shapes and then I'll let you see the results. 7. Ultramarine Sky: now let's paint are ultra marine sky with clouds. I'm repeating the same process once again using the side of my brush to create that negative shaped edge off the cloud. And I'm going to do lifting, softening and all of the same techniques we've been using for the others. But we're exploring this color now, so you may notice that at the very beginning of this painting, the color is already quite a bit darker than it was for either the cobalt blue or the civilian. It just has a larger value range. It can go much deeper and darker, then the other two colors. This is the same sort of consistency of paint that mid range paint that I talk about a lot , so it's just the value of the pink that's darker, but it's about the same amount of water as the other two paintings. So I'm just going to continue the process of lifting an addict paint and creating those nice little soft cloud shapes, leaving just a few hard white edges to be the lightest areas of my painting and adding in some little dark edges as you see me doing here, added a little dark and then softened it a little bit. Just create some depth and drama in that cloud. I still want to drop in more pain along the edges, but maybe not quite his dark. Is that waas on the bottom There? I want the bottom to be a little bit lighter and softer than the top edge of the sky. The important thing is to have a wide value range toe, have your darks and your lights and to create those soft, fluffy feeling clouds. So just a little more lifting a little more softening and we will be finished with this cobalt sky and I like to see the results. 8. Three Blues One Sky: Now let's paint Once guy with all three of our blue paints, I'm starting off with ultra Marine Blue is my first color, and I'm using that same flat brush stroke to create the edges of my clouds doing that negative shape painting. So we'll be using the same processes for this larger painting, but will be using more colors and you'll see you'll have a nice variation of color in this painting when we're finished, I started working wit on dry, but now, as I dropping more color, I'm working what I'm with, and I'm softening some of those edges Exxon dropping in some of that cobalt blue, that bright, clear primary blue. I'm dropping it straight into the ultra Marine. It's not going to cause a problem with mixing these colors there variations of the same color in its new problem to mix any of them together. And while it's all still nice and wet, I'm using that tissue toe lift. Don't forget to twist and turn your hand is you're doing that and reposition your tissue so that you're actually picking up the paint and leaving a little bit of a dryer area in the soft, fluffy looking cloud. I'm working on lifting. Those edges have been drying, and I ended up with a hard edge there that I didn't want. So all I did was I took some water, went back over that edge, and then I dropped in mawr. Darker paint. That's the cobalt blue that I'm adding in there and you see it flowing into that water that I added, and it just took care of that hard edge that was there that I didn't want. So working back and forth between all of the different colors. So far I've had ultra marine and cobalt blue, and I add and lift and work back and forth. And now I'm adding in Netseer Ilyin. I'm putting them in a little bit different areas because I want some of the pure of per color of each to shine through in my paintings. But I'm also going to let the mix and move together. So adding that ultramarine blue straight into that civilian, no problem at all, and I'm creating some shadow shakes on my clouds again on sort of scrubbing my brush around , doing that same flat motion of pushing out the edges. It works on the dry paper. It also works on the wet paper and then I'm lifting even more. I want nice, soft, fluffy looking clouds because of the way I'm using the tissue. I'm creating drier areas in my painting, which allows me to add layers where I just recently painted because it's essentially dry. So now, adding in more shadow with the ultra preen right over where I was doing, lifting and some of the papers wet. And some isn't. But I don't have any big puddles of water. As you go through the process of adding layers. You don't really want to cover up everything that was already there. So now you see me making really small shapes with just the tip of my brush to create some shadowy cloud effects, and I don't want to cover up all of that light area, so I'm making them very small and tiny. You can use a smaller brush for this if you prefer, but I just like using a really light touch with the tip of my brush and want to deepen and darken the areas that are are sort of around edges the areas of the sky, so that'll really make that cloud stand out because darker darks means lighter lights. So working on contrast here and also keeping nice soft edges. So one of the great things about painting all of these different skies is because they're very similar were using similar techniques, and we're really honing our skills and working on our skills. So we're practicing brush control. We're practicing. Softening techniques were practicing, learning more about our colors and how they all work together. These air are three blues. They're all different from each other. But if you look at them just in the pan, you may not really be able to appreciate those differences. So it's a really fun thing to do and a great way to practice your skills. I'm working on the composition here. Another thing we're practicing, and I'm trying to create a line that basically takes your eye across the painting. And I think when I actually ended up, painting were some sort of misty mountains in the background. But it could be clouds, right? That's one of the great things about loose, impressionistic painting. It's not going to look exactly same toe every viewer. People are going to be able to interpret it on their in their own way, and that makes it so interesting. I'm just going to make a few tiny little touches here, and I will be finished with this guy. I like the colors on the composition, and I hope you enjoyed it too. 9. Sweeping Sky: No, let's paint a sweeping sky. This painting is inspired by this photograph that I took recently. We're going for loose, impressionistic. It's not going to look exactly like our photo, but it will be a sky. Let's start with those sweeping brushstrokes that we practice in the technique section. I'm using a really light, watery washing paint and then focused on creating motion. Now I'm going to use my whole arm as I'm sweeping the brush across the paper. And then I'm doing also some lifting with the tissue. I'll do some blotting and tapping, and I will do some sweeping of the tissue across the paper as well in all three colors for this painting again. Right now, I'm adding in some cerulean blue and then some cobalt. I'm working in that wet areas, and I'm working wet and wet and sweeping in the color. So not only do we remove and lift with that sweeping motion, but we also can add in color with that sweeping motion. Even this early in the painting, we can see that nice movement and flow in the clouds. Now I'm looking at my reference photo, and I'm trying to this a negative shape painting around those little puffy clouds that are sort of in the center of my photo again, I'm not going for super realistic. I just want the impression of the clouds. And I'm going to just start softening up that area. I don't want them to be super bright. Now that I'm satisfied with that area, I kind of want to add those little Tufts of cloud that are on the left side of our reference image. And I'm going to do that by lifting. So I actually painted the entire area with a cobalt and cerulean blue. And now I'm just tapping little small tax. So go back in later and add more darker sky. But right now, I'm just working on lifting and getting that fluffy nous moving on now to the bottom area of the clouds. And I'm just pretty much just dancing around the brush, putting in color and texture. I use, um, ultra Marine. And now I'm using some cobalt and I'm smoothing that out. I don't want any hard lines there. I do want more funkiness. Are you tired of hearing the word fluffy yet? I bet you are. So we could use the term volume, which is what we're doing. But Fluffy is just more fun. So let's let that dry and then we'll move on to another layer. This layer is about adding contrast and some of those details. So I'm adding and more cobalt blue here and sweeping it across the page to create that motion and wispy nous in the sky. I'm lifting. So I'm doing the same process I did on the first layer, except in a smaller area, leaving some of that background and adding in some details way. Now I'm back to that left side of the sky, and I wanna make those clouds look small. So what I'm doing is actually painting the sky rather than paint in the clouds. So back to that negative shape painting. So I decided I would add a little bit of harder edge here and a little bit deeper, darker color, just to add one interest to that center of the cloud and create like a second cloud shape there that's in front of that wispy one that's in the back so you could see how that darker color makes that lighter in the front stand out more then I'm just adding in war shadow into the clouds just to create that death. I love this layering washes light washes over each other to create more and more death and drama in a painting. Even light, subtle colors can have a really nice effect on watercolor Pantex. So we'll continue adding another layer or two and using these same steps, all turn on some music for you so you can watch the rest of the painting and see the results way . 10. Cold Vs Rough Paper: Let's have a quick chat about cold press versus rough paper. We'll start with cold pressed paper. I'm going to use to different brushes to just swipe across the paper. The first brush we didn't use in this class and the second brush is the flat brush that we used. So you can see there is some texture on this paper, but it's not a whole lot. Some culprits papers have even more texture than this. Let's take a look at the rough paper. It has a lot more texture than cold pressed paper. I'm using the same two brushes to make more swipes, trying to use the same pressure, and I think you can see there's a big difference. So far, we've been painting on the cold press with less texture. But now let's try out the rough press. It's really a lot of fun to paying on 11. Blue Sky On Rough Paper 1: Let's paint a blue sky on rough paper. That's the sound of my brush on this rough paper, so it has so much texture that it literally you can hear the difference. But I'm using the same techniques. I'm using negative shaped painting, pushing the brush away to create that nice natural edge, and I'll be also doing lifting. But the pain is going to go down into and settle into those valleys of the rough paper and where it skips over those high points, it creates some nice Barkley effects. This painting I painted literally in five minutes, or maybe a little bit less now have sped it up for you while you're watching. But I just want you to understand that the different type of paper used can really make a difference in your painting. And it really simplified the process of painting these clouds using this rough paper. I really enjoyed using this for painting skies, and again I use the same techniques but just went quicker and the hats of nice sparkly effects. But I wouldn't use this paper for painting something like a face for me. It would be too rough and not work very well, so hope you'll give some rough paper. Handmade paper. Try and let me know how you like it. I thought it was super fun. 12. Blue Sky On Rough Paper 2: just for fun. Here's a second blue sky on rough paper. It changed the orientation of my paper just to get the idea that I was looking up at this really tall sky and I music again, the same techniques that we've been using for this entire class. It's great practice, and it's a lot of fun, too, so I hope you'll give it a go. I'm using all three colors in this painting and then creating a nice, bright, vibrant blue sky. It really makes me happy. All these blue skies were making me really happy. So turns of music now and let you finish watching if you choose to, and that's we'll talk about your project here . 13. Project And Thank You: thanks so much for taking my class. Let's chat a little bit about your project. So you've made it through all of the classes. Okay, I am so proud of you. It's not easy to watch all of these lessons and try and absorb everything, but I hope you've enjoyed it. And I really appreciate you taking my class. Thank you so much for your reviews and your kind words and for following along with me. And please let me know if you have any questions in the discussion below. Now let's talk about your project. So we covered kind of quite a few concepts in this class, and we painted a lot of skies. And so I would like for you to if you feel you need to, you can practice your techniques, and you could share that once you're satisfied or happy with your practicing of love for you to move on to painting some actual skies so you can paint some very flat or Grady in wash skies in the different colors. If you make these really large swatches, you'll build to see very easily the differences in the colors, and you could paint some cloudy blue skies. All these guys make me so happy, You guys, I hope that they make you happy too. So I have the civilian, the cobalt blue and ultra marine, and these are all imaginary cloud formations. But they give you the impression a loose impression of sky with clouds. And I think they're really pretty and fun to do now. We also did a painting with all three of our colors in it. So this has the ultra marine blue cobalt blue and has the surreal yin. And you can see all of those colors mixed in here. It was done in several layers. So if you're working on this kind of painting, be patient, build up your layers over and you'll get some rich, beautiful color. And I think this could actually be like a mountain range, but I never intended that. But it kind of looks that way a little bit, but it's actually supposed to be cloud. Anyway, it would be great for your project if you tried the three color sky. It gives nice variation in your sky and then the sweepings guy. So this was practicing. The techniques of sweeping are brushing our tissue across and we created a large cloud formation. This one is actually inspired by a photo that I took. And it's not exactly like our photo I never intended to be. I just wanted to be inspired by that and give this impressionistic look of a sky with Big Billy sweeping clouds and little tiny clouds as well. So you could try that. And then we have our rough paper skies. Now, if you have rough paper and you try this, I think he's actually took me maybe five minutes to paint. So it's a lot of fun just to try, but you have to really let yourself be lucid, impressionistic in order for this paper to really work for you. So there are a lot of options that you have for painting skies. I would love for you to paint one or two or three or 20 skies. It's totally up to you, but I can't wait to see what you do. I can't wait to see your lovely projects again. Thank you so much for taking my class and I'll see you later. But