Acrylic Painting For Beginners: Wisteria Landscape

1. Class Intro: Hi, this is M and artist based in India. I mean the work with watercolors and acrylics. And in this class, I'm going to teach you how to make this beautiful landscape with liquid radicals. I mean, either be using liquidity credit colors, but you're free to use heavy body acrylics. Also. I know it looks very difficult, complicated, intimidating, but trust me, it's not difficult to paint at all. I'll be breaking down the process in small and easy step. And I'm very sure by the end of this class, you will be able to make this beautiful landscape. I will take you through the process of getting this landscape post. And then B will move on to painting. But false, we will have to look at the materials we need for this project. I really hope that you're convinced on taking this class. So let's check out the material. I will be using this canvas pad. I have already deep the corners of the bag, but you can use a canvas board also. And it's totally up to you whether you want to deep the bodies or not. If you want to take the borders, you will be needing this masking tape. It's a simple being too steep. And for the brushes, we will need small and a medium flat brush and a small and a medium round brush. On right. Now, for the colors, we will be using white and black. And then we are going to use lots of colors. Valerian, blue, brilliant poeple, boil it. Dark green, lemon yellow. Bonds, sienna, and a dash of crimson red. I mean, you must have guessed all these gun hands from the painting itself. Then we will be meeting rough cloth or paper towel to pin the brushes. I think reflux will be better. A jar of water, facebook, stationary light pencil, eraser and ruler. And that is all what we need for this class. We'll just grab your supplies and meet me in the next lesson. 2. The Sketch: Welcome back. I'm so happy that you're here. So let's begin this beautiful artistic journey by getting this landscape on the gamble. I have already sketched the landscape. I've you see, but for your reference, either beef getting it again on a smaller sketchbooks. And if you want, I have already uploaded the landscape in the resources. You can find it from there. So let's begin with marking the beef of the painting of the competition. So I've got from the bottom, that's where the staircase. Very easy and simple. You can follow me. My God, we are making the diagnosis. So that creates the correct perspective. It's real-time. I have not sped up the video. So you can follow me. Philip, you have difficulty. You can slow it down for those in the playback. Or you can get the picture from the default and treated on your canvas. Is where the doors guts. Because this sketch book is that phi I'm drawing a little small, smaller than Board. I have drawn on my canvas. You see here I am drawing two lines on the right-hand side and I've drawn three lines on the left-hand side. By is that because the lines on the left-hand side is going to be the line for the shadow. And acrylic is the opaque medium through we can draw as dark as V1 and I. I like to draw the shadows. Also mark the place for the shadow also to that leader and had to be in the shadow. I don't have a problem. So now you see, as I made this area, you can actually see the dimension in the door. It seems a little bit inside and the frame on it's own popped out. It looks like the brick work is outside and the dual is on the inside of the frame. And here goes the hinges. Let's continue with the staircase. You can use for drawing all the trade lines. If you like to write that. Here, I'm going to be in the wild. I rounded ones. I'm drawing that. Not drawing the foliage in detail because that spot we're going to paint. Here's a little window. Again, even the window is not very detailed. Just to give a sense, just for the composition. And again, with a window on food, we will follow the same technique. There's a little platform outside the window, and the dream is also outside. And the window on the inside of the clean. For that, again, it'll give three lines on the map and ego being the shadow over there. Now let's move on to the other elements. Here's some more greenery on the ground, like a flower bed lined by the stone or wrong. And here's some foliage and the style of painting studio. So I'm only drawing the spam in a little bit detail. And I'm not going to draw the Listeria flowers at all because that is something we're going to paint directly on, right? And don't be afraid when I say we're going to paint directly because it's very easy and very simple. To just, trust me, you're going to make this beautiful landscape. Even if you have prior experience in being, being such DDMS landscapes, all you need to know is just some basic brush control and some basic control. Sketching. And you will be able to make this beautiful landscape. Here are some more greenery in the background. In another video, blind will come out of their trunk. Like that. Going around the door. Some branches here and there for our reference. And he's cute little mailbox. Again, not just for the competition. These are the reference for the markings on the ball from depicting some brick work on the door. And this is going to be hidden under the clouds layer of acrylic. The clinic is an opaque medium. But BI, making these mock, making the ground and the wall so that we know in our heads when we are painting that all this is going to be there. So that's the final sketch. And as I mentioned earlier, it's dead in the resources. You can find it from there and join me in the next station when you're ready, let's go. 3. The First Layer: Welcome back. I hope you are ready with the sketch and now it's time to paint our post layer. But before that, I want you to take a deep breath and relax. It's all going to be easy and fine. So now for the fourth layer, I'm going to take that green directly from the bottle on my damp brush. The brush is only damp and not wet because we don't make virgin acrylic. And I'm going to be in the dream only till this level. I'm not going to go beyond that because this is where the foliage of the plant is going to end. Below this will be the wall. And we can obviously gobbled up in acrylic because it's so big. But I don't want green to be the underpinning of my beach balls. And as you see, I'm keeping the strokes very touchy and not following a particular stroke button. It's neither horizontal nor vertical. Because I want this to be back here. Because as I said, it's going to be the foliage which is going to be mostly covered by the blossomed. And we are going to see this foliage only through some gap between the blossom. So let this be patchy. The more patchy, the more natural it looks, right? And again, I'm leaving the other elements like the door frame and then do claim. I'm not coloring them. And here I added some black directly from the bottle on top of the beam before it dried. Acrylic dries very quickly. We have to be a little faster. And I'm blending the colors directly on the canvas. I'm not blending the colors palette, but I think it's a bit too dark for me, so I'm adding a little bit of more green teal. Let me stretch this color. And if it feels, it feels more gas and I'll add in some more green. It might look black on camera, but transmitter, we're only now what a walls are taking a clean, damp brush. So it clean damp brush. And I'm giving it a code of right. And I'm leaving the greenery below and stem of Listeria and mailbox. All these things which are not Beach and leaving them uncovered. And rest of the bar exam covering the white. Do this section by section, as I told you, acrylics dry very fast. So before this white coat dries, we will bringing bond phenol. So del comes bond sienna. And as you see, I am again blending it on the canvas. And now you see we get that peach color, darker beach. And here I'm following the vertical strokes. And don't worry if this part is also a bit patchy because that's okay via NPV is depicting an old building on right. So don't worry about it. Now. I am speeding this up. You can always slow it down. Here for the frame of the door, I am keeping the color very light because I'm trying to debate that the frame of the door is slightly in the strand and the walls are in the bag. So it's catching more light. And that's why it's lighter in color. And here for the stroke, I'm using the tip of my brush and following the curvature of the clean as it is. And for the base of the frame, I'll be using the lighter tone of bonds sienna. Then use the curvature with the tip of the brush. And for the bees, I'm adding white and then add together. And I'm using the tip of my brush horizontally. Movement of branch and the direction of brushstrokes also determine the effective vertical strokes. Whether or not they are clearly seen. The depicts the vertical plane and the horizontal strokes depict the flatness. All right, so here again, I am painting it in the same baby painted the other side. So I've sped up this part also. And as you see, I'm leaving the stem and the was and other elements which are not Beach. And for the ground, again, I want the ground to be the lightest because that's the part which is sketching the maximum light. And it's going to be the lightest horizontal strokes for the ground. And now for the vertical part of the tail, I'm keeping it horizontal only. And the fifth Glasgow. Again, for this part of the sales, horizontal, diagonally horizontal strokes. And the fight is also darker than the ground. Market as much as you can. But if it's a little bit patchy, don't worry about it. Maximum but of this layer are going to be covered behind the food coming lessons. So don't worry, just enjoy the process, follow the B6 and we'll be done. And once this layer is done, we're going to leave the canvas for drying completely. We won't start painting our next layer. Before this layer dries completely. Otherwise the paint will below and it will become bad. It won't look pleasing. For here as you see, this layer is completely done. So let it dry completely. And in the next section. 4. The Blue Door: Welcome back. Now that the background layer has completely dried. Let's move on and make this beautiful blue door. So for that, I'm digging the urine blue, white and black on a thalamic deep and my brush is as usually damp and clean. You don't have to necessarily do dynamic date. You can use any colors you want. Now for the beef layer of the door, I'm mixing a lightest Alerion lose weight starts with violet and adding some blue in it. Because there are going to be lots of shootings and the deals. So I want to start ladle. And as you see, I am following the direction of the curvature of the door and I am leaving the lease. We have marked for the shadow, like so. And now using the vertical strokes, I will fill in the colors. On the end Diodorus. Like that. I'll keep mixing some white and some blue time to time to blend the color. And at the bottom of the door, I am keeping the color darker because that's where we're going to have the shadow is bad. At any point, if you by mistake themed the blue color over the beach galore, you can easily wipe it off because after drying completely, acrylic becomes washable. Who don't worry about it. And I'd taken from all white and I've mended. Now, it's time to bring in the shadow. For that. I take some black and lots of blue and I merge the two colors together on the canvas. And as you see, we have already drawn the place for the shadow on the left-hand side of the door. And I'm just filling in the darker blue color. In that night though. You'll see how I end up over blending the shadow area and how I don't like the lighter blue of the door. And you will see how I fix these two MSX. I did not edit out that portion from the video because I wanted you to see and learn from my mistake. Here. I'm adding some highlights with white and some shadows with the darker blue. And sometimes it happens adding highlights and shadow completely, although the dawn of the subject you want. And that happens with everyone. Now see my struggle of getting the color. I'm trying to add some more shadow and trying to make it darker at the lower part, I'm adding black and it's all good. The good thing with acrylic is that we can always go back to the previous color. So the tip here is not to be afraid while adding white or black in your subject, because you can always go back to the previous color. So don't be afraid of using any color, especially white or black. Just use the colors feeder effect if you like it or not, and then you can always rectify it. Alright. So first I over blended the shadow in the side and then I tried to fix it by adding some shadow on the bottom of the door. And now I have to completely bended again and paint the door because innovates the dual had become too light for my liking, so I have to make it darker. That's what I'm doing here. This demo voice just to let you know that even an experienced artist also makes mistakes. Don't be afraid, don't get overwhelmed if you end up making mistakes because mistakes are bought. Us. Right. Here. I am roughly drawing B's and deep looking. We will come back and deal with them properly, right? Non-jews drawing kind of placeholders for the hinges so that I get an idea of the overall look of the door. And now I will just mark the place for the shadow. I will not bended right now because I don't want to repeat the same mistake of over blending the shadow because I want my shadows to be the darkest. I'm just marking the place for the shadow. And I will leave it like that. I will let it dry a bit and then I will come back for the living on the door. I know right now it looks very sketchy, but don't be afraid. It would be fine and perfect. And I'll do it in front of you only. Very light handedly, I am drawing some random lines for the shadow of the bacteria blossoms, which will be hanging on top of the door. And I'm giving a late or 10 line on the right side of the door and on the bottom of the door. Like so there I lived through like this. Let's move on to the other part of the beam being in the next session. 5. The Window: Now, by the time the door dries, let's work on the area around the door. For that, I have taken this moral round rash. And in the same palette, I will add some burnt sienna. Burnt sienna. Yes. And I will mix it with my black together, dark brown. If you have a dog ground pre-mixed, you can use that also. And with this, I am going around the frame of the door. So I'm keeping the line on the right side. And here's some jokes for the brick work. And I'm giving this line drawn on the left side because left side is where we have more shadows. And here I am making these outlines to the vector step. And as you see, the door has already started looking better. The shadow on the left side does not look solid. There are gaps in it, so it looks more natural and make this outline even. And now with some random strokes are giving the shadow or not frame of the door as well. And now you see we've already got some dimension in the door from slanting lines. And now let's move on to the ground and the staircase. Now, I will use almost no blood that warranty and out. Or I will almost use the pure burnt sienna for bees, but because I don't want darker brown for these, but now they're the joints of the gyros and breaks. And some random shadows cast by different objects, trees like so. At the ground. And the base of the rocks aligned around the flower bed to as you see, I'm not making it very proper. I'm just using random lines to debate these joints to give it a more organic and natural feel. Like so. And now let's add some black in the burnt sienna to make darker shadows in the joints. More like this only we will complete the entire area and on the door and the walls. Some more badges. And now let's move on to the frame around the windows. The bonds, the an-ion blood makes sure Moldovan Tina and less black. And again, the shadow is on the left side. Let's bring in some shadow in the frame like that. Yeah, frown made with Vienna and vertical lines. For the dimension that now let be in the glass of the window, windows shut and the glass is dark black. I mean, it's not SCADA called out black. Now let's do the root of the window. Now let's begin this tiny little box in blue. Sit flat outlining. Right now the paint is wet and this black, I'm using the modulated and look natural and not very sketchy. Now let's make she'd for the shadow below the mailbox. And for that, I am mixing all the colors I have on my palate right now. And the dad, I'm going to add a shadow. I'm not happy that the shape of the shadow. I'm grabbing it and moving it from the surface because the surface is already dried. So I apply some water with my finger only and I rub it and it's gone. This is a tip for you. If you end up folding at the wrong place, you can do this provided the base layer is dried completely. So now with this, we are done. Let's move on to the next lesson and walk further. 6. Vases & The Tree Trunks: Now, let's begin the wife and the trunk. And for that we need, which I'm going to mix all the colors we have on the ballot. Brown and blue. And I got this dark gray sheet, big one, this dark color. And then either bringing the highlights and the shadows. I'm using white in the highlight area and using it, they don't read and blending it to get a lighter. And now I will bring in their shadow. I will then blend this dark color halfway through. I will not cover the entire night. And the next and when to use guards brown for this file. And again, like the previous bug, I'll bring in the shadow and the highlight. Better and better technique. This system. We are done did all the brown devices. Now, let's move on to the spine. And for this I'm using the same actually soliciting glucagon. And again, I will use to add the highlight on veteran bit. And since this was round, I'm using the circular be to depict the curvature of the surface like that. Thank God, getting some dogs back. And again, the blue in the danger of over blending and making it a light blue too. I won't work on it too much. I leave it like that. We'll come back with the shadow and highlights later. Now, I'm making this light green by adding black and white. And the dad, I'm going on with celiac trunk. So this is the base color of this drunk. And we will come back on this with white and black for the highlights and shadows and try D texture, which we commonly see on the celiac trunk. See that the moment we add the stripes, it becomes, it becomes more real. Random striped depicting the twist send guns of the trunk. Right now we've just added our War blacks. And now I'm going and I'm creating some branches to wispy branches. And I'm randomly using buy it and black for the branch right now, I'm using my round brush, not working with the flat brush. Right now. I only painted flat brush. Same day they're going to color the other Listeria trunk also randomly leaking in from black and white in the bank. And again, you will notice the moment we add black and white, it becomes more natural, it becomes more realistic. Just agree, it flat like that. Some branches here and there. And we're done. Trunks of the stadium now, but the same green color. Let's work on the knob of this door and the hinges of the door. And give them more realistic look. The same brush, I'm going in with the lighter green. And then I will bring in those shadow with the black. I'm painting just the left half. I'm not completing the entire circle. Now that you have the hinges with the same green. To make it look more realistic. Only needed as placeholders. Remember. Now, but this we are done with this layer. Now let's move on to the next lesson and color green. 7. Background Greenery: All right, Before we start with the greenery, letters, add a little bit of more details on the window and door since it has dried completely. And I had forgotten to add the details. For here, I have taken my round brush and add the deposit. I have taken some black and it's almost a dry brush. And with that, I am gently just giving a few strokes here and there to debate go joins or crevices of the wood. And the same thing I'm doing on the doodle food. This movement, flicking movement. I'm adding some very thin black lines randomly here in this. Alright. So with this we're done. But finally the yield on the door and window now, but the Dutch, but I've cleaned it. I'm digging green, dark green. And with that I'm grabbing on the bars that he had left for the doing leak. And have a closer look of that. Here as you see, I'm just grabbing this blink though in green Gallo. I am not trying to paint it as a big blob of green. I am giving Apache. And here I'm also leaving some places uncolored because that fair flowers would gum. Though acrylic is opaque and began gallery it completely. We want and we can just add the flowers on top of green. But I just wanted to leave some white here and there in baby up to color the green leaves behind this font. I'm going over the wall. And here again, I'm leaving some uncolored batches or the flower to be added later. Now I'm going to add the green gland. And here I am the fingers of this, that the tip of my brush a little pressure, I'm dragging it and releasing it. And that's how we make the long leaf drag release like that. Now I'm going to add some yellow to leave four dimensions that the King Movement drag relief. And here I'm adding some highlights on the other greens onto the same stippling or dabbing movements. I'm repeating the same step here also. I have sped up the video because all these steps are very, very repetitive. But at any point, if you want to bold the video or slow it down in the playback, you can always do that. Right here, the finish line down, the dark green and yellow and they go. And here as you see, I have not kept any uncovered. I've got it everything with green. And now the last flower bed, Bindi. And gathering it with the same dabbing movement. There. Have long lead times. Such drag, drag, delete. Now in the same brush, I have added a dad joke, lots of green to make it darker green. And the dad, I'm catching the greenery here and there to give the shadows. The shadows will be on down but on the job, but we have to dilate who added the shadows and all the green. Now let this dry completely for like a minute. And then we meet again in the next lesson where we add the beautiful blooms. Do it. 8. Background Blossoms: Welcome back, my friend. It's time to add some beautiful blossoms to the painting. Right now we're adding the rounding logarithms and not the mean with the republicans. Who here, I start with red. You can choose any color that you like. I had taken the same small round brush and the guide, I'm going over the right spot, the left and the green ray. And over there I'm filling in red. We can also add the flour in the area which we have been big green. There is no problem about it. The only point we have to keep in mind that if we are adding the flowers on top of the green, the green layer should be tried. Advice green and red or any other color that you're using, Middlemarch. And it will give me the effect. And it will not look the thing one by one. In each and every. I'm using a theme color right now. But I am back of my brush stroke. Here. I'm dabbing juice. While previously I had followed slightly larger areas like that. And I'm not making perfect circles or any bed. They're all random and different. No bad gun. Because if we follow a particular pattern, if he made all the flowers, I like, it will look artificial and not natural. To give it a natural period up to keep reading our stroke and prepared. Taking another color, yellow. And I'm going on top of grid. Randomly. I'm not putting the yellow dot in the center of each flower I have need. And just randomly the thing, red flowers, VIP, yellow. Like film. Thinking I'm doing hill. And now for this one, I'm going to take break and bite. I'm definitely Flaubert. And you blend the two colors, the red and the white. And that will give me a late thing. Lightest red actually. So that I get different galore, right? Being in the steam, by luck on it. I'm blending the two colors. And now let's move on to this one. I'm adding yellow, tiny yellow dot. It's not looking at them Griffin, as a poet through now, I'm going in with red. And this is because the walls are all food in the sheet or PLO DNA, darker orange, darker yellow sheet, so that by the yellow color is not any node. And that's the reason why we have to give it a big and I'm adding red. I don't. Now let's add yellow to these very tiny dot because the Cloud only I made a small bite of the fibers and an even smaller. And so every time I finish one batch of level, I came back and look at the beam thing and if I peeled in need of adding more, I do that. There's no particular about it. Just follow your heart and finish the set and meet me in the next lesson. Very rarely add the attraction of the painting, though, with flowers. 9. Shadows & The Highlights: So before we add the bacteria blog and let's work on the final and the shadows and highlights one. And for that, I am taking a makefile bond, Vienna and black. And with dry brush strokes, I'm adding some shadows underneath bought and the more fit I'm adding at the joint of the wall and the ground. And I'm also making some dry brush stroke for the directional lines on the ground. For the perspective. If you notice carefully, the consistency of the paint is very transparent. I'm purposely doing that because I don't want to make the shadows do solid. And I'm giving some random lines to the ground. And here, I forgot to color these these zones around the flower bed too. Now I'm coloring it with the same colors, the same bond, threonine black mix. And I'm building up on the land. And runtime Dignidad, either be me, shadows underneath the rock on so these random lines on the ground debate the shadows of the land and other trees and other thing that came out of the canvas. It gives it a more realistic feel. Own humming, how they are being, being looked. And therefore making it look more being done. Now it's time to bring back the white who the graphene dry brushing technique. I am adding the highlights once again because we have seen that I have all blended the right. So I'm taking pure buy directly from the bottle and with a clean dry brush, I'm going over those structures. I born the highlights on like so. And once again, I'm at the danger of over blending it and I'm not going to do that. Then I will leave it like this. And I will work on the walls To debate some brick work and erotic and burnt sienna. I know it makes black in it directly from the body. Again, a dry brush. And giving some random vertical and horizontal lines to debate public work. And not going very perfect in making public works. Some beginning on the edge of the door. And now I've let it dry completely to add some stronger highlights. The highlights have become dull as expected. And now if the guide for the final, final highlight. So for that I'm digging of flat dry brush and I've taken very little amount of weight delivery from the Basu. I'm going to dry brushing effect. And I just don't start with the main door. I first tried my God. I tried it first on the 50-year stem and on the Greeks. And now I will move on to the 1 and finally on the door because I don't want to take any chances, though the layer is dry completely. Even if we mess up, we can clean it up. But still I don't want to take a chance to hear. I add some highlights on the mailbox. And now finally, I move on to the door and he thought I was feeling of I ended up DO read and do much on the door. But not to worry. I am going to wipe it off with some water. So here I have another clean brush and now I will wipe it off with a rag. And this step is only possible when these layer is dried completely. Don't try to do it. If you leave, it is not drive because that will completely ruin your painting. So my BFF able to drive through, I could do that. And here either greenback highlight, again, completely dry brush. And I have to bend it more with my finger. And they're now I'm happy to give to the window also. And then we're done with this step. You're done with this lesson. Now, meet me in the next lesson where we will finally add the VC. They are blossoms. Notice how I'm using a brush to get a very thin line on the venule. And then we're done. 10. Star Of The Painting: Wisteria Flowers: Welcome back my friend. Now, this is the most exciting part of the painting. This much we have done. Now let's take out the colors for the blossoms who had taken the Berlin bubble and boil it. And some light green and dark green for those. We will also be adding some white and some loops. So let's get started. I've taken us small round brush and I will start with the boiling. I will cut the plane the dots, a conical phone in an inverted triangle form. And I'm starting with the branches which are down below. And do that, I will be adding some dots of brilliant. Let's have a closer look. Like that. Just like a bunch of green. I'm giving some don't. Taking color again and again on the tip of my brush. And lightly touching and making dots, forming a conical shape upside down. And I band. I'm making all the bunches of this year blossom. Very easy and raise them. And in fact, very meditative. As you see. Can you see the picture? Because I'm lightly touching the gambling with Delgado and to be sponges, I'm now adding though brilliant bubbles randomly. And I have to keep in mind that I don't end up covering the entire bunch and governing though. Boiling Scholar. Now the family, I move on to the upper portion of the plant. We have painted the green part. And on that also will be making these bunches of Listeria blossom, makes red, violet and brilliant purple color. I'm also dotting it with some violet. Like that. Time to time I have to buy it branch also because it becomes completely loaded with paint. It won't book. I won't get the darks. Nice dot. You have to keep wiping my brush with ROC plot. Now here, as you see, I start with the breeding purple and not with dog. Boil it. So it's totally up to us which color we want to start with here. As you see, I started at byte and drop-off that I'm giving credit bubble and boil it. So it's totally up to us what color we want to start with and what sequence of colors we want to follow. It is a time taking process, but it's a very easy and simple like this. Only we have to cover the entire area that we have been did in darker green on top of the painting. Here. I'm also going to take time lapse. But if you find the video very fast, you can always slow it down and playback. I just thought it was really easy for you. So I sped it up. Let's listen to the music and finish this step. And now the important point over here is that we don't have to cover up the entire DAG beanbag. Also. We don't have to make Listeria blossoms bunch of bested in a way that we end up covering up the Guyer dab, beanbag or boil it. We have to leave some gaps so that the dark green, but is also showing like I am doing as you can see here. Alright, So Joan just covered it up with four below boiling, leave some gaps so that we can see the darker green, but also through the blood. And here I have reached the halfway through. Now let's add the line. And here I'm going to use a dash of blue. I'm going to sketch some of the blossoms, not oil, some of the burdens, but they do add some dynamics to the flowers. As we reach the midpoint of the beam. We have been some blossomed over the edge of the door, also giving the impression that they are hanging on top, like so. So we have finished one side of the beam thing. Now let me show you how we should add the leaves of plants. For that. I'm going to pick a lighter green because our background is dark green. For the tip of my brush, I'm again making some dots. This time I'm not following any conical or inverted triangle shape. So here, as you see, I'm making the leaves in the gap and there. And now I'm going to take a dime lab. You can pause the video and finish your painting. And you see, I have made all the we fear of logarithms and the beep. Now, it will look very unrealistic if we don't let any author petrol fall on the ground. Support that. I am speaking from poeple, some violet and even from white or green on my brush. And randomly, I'm just taking the ground here and there to give it a more realistic feel. And then you don't have to overdo this step will be to just stop hill and we are finished with the beautiful buildings. Meet me in the next lesson for the final thought. 11. Good Luck & Your Turn: Finally, we have reached the most satisfying the edge of a painting. Maybe remove the tip and reveal gammas to be. Now is the time to bite your bag for all the patients and hard work and love what you have created. The most important part of any creative process is to embrace it with all the floors. And not to compare it with anyone else's art. Because it is not about just creating a bunch of beats. It is also about having a good time. And I really hope that you had a good time. Again in this class. I really had a great time. Beating the beautiful landscape with your eye will regret you to share your creations in the project gallery. I would love to see that. And if you still have any doubts regarding it, you can ask me in the comments and please do follow me here for my new glasses. Thank you so much once again for taking my class.