Acrylic Painting: How To Paint Using A Limited Color Palette

1. Introduction: Hey everyone. My name is Lorianne and I'm an artist here in Phoenix, Arizona. Today, I'm going to show you how to paint using a limited color palette. I'm going to paint an entire landscape using only four colors, blue, black, yellow, and white. Join me as I show you my process in mixing all the colors to create various shades of greens and blues to make this landscape come to life. This class is the perfect way to learn how to create beautiful works of art using limited resources without having to invest in a large collection of paint. Head to the first lesson and let's get started. 2. Preparing Your Paper: Hey everyone, I'm going to show you how to prepare your paper for my painting classes. For these classes, I've been using this Canson watercolor paper. This is a great paper. I will link it in the description, but it is super cheap. It's like ten bucks for 30 pieces and this is an 11 by 15 inch piece of paper. Great paper. You should definitely get this just for general practice of watercolor. I am going to gesso my paper first and you definitely always want to work on the rough side of this. There's like more of a smooth side and then a rough side. First to prepare, we're going to use gesso. I love my gesso from Golden. It's just a really good quality gesso and I like it, so I recommend this. All you need is just a regular old paint brush. You can get this at a hardware store, just something cheap that is wider so that you can cover more surface area. We're going to get started. Whenever I gesso I do not like water it down at all, I just go straight into the paint and just start painting. Just make sure you cover all your surface. The whole surface area. For me it's okay the paint on the table. But if that's not okay for you, then you should definitely put something underneath here. The reason why you want to go all the way to the edge, because once this is dry, we are going to tape it down. If you don't get it all the way to the edge, when you pull your tape down, it will likely pull off some of that watercolor paper. It will leave you with a really rough texture on the edge. It can even pull off some of the paint on the painting. Just make sure, oops. Make sure you get all the way to the edge. Once your paper is fully dry, we are going to tape it down. This is just an artist tape. That's white. I like white. I mean you can get whatever you want. But this is particularly for art projects, but you could use masking tape, whatever you have is fine or if you want to buy this, I will link it in the description. I'm just going to tape it down and the way that I like to tape, I'm just getting it straight with my table right now. But I like to do it like, half on the tape and half on paper or half on the paper and half on the table. So you can see through it. It's a little transparent so you can sort of see through it. That's just like a general rule thumb and then you'll know how to do the others. There you have it, you are ready to paint. I just want to reiterate how important it is to just seal your paper, let it fully dry before you tape it down. Because this is just so when we remove our tape, is going to have a very nice clean edge. Otherwise it could rip the paper off is you don't just seal it all the way to the edge. It will rip the top layer of the watercolor paper off. That is how you prepare your paper for my classes. Let me know if you have any questions and I will see you in class. 3. Painting Process - Part 1: All right. Today I'm going to teach you how to paint a landscape using a limited color palette. We're only using four colors, blue, black, yellow, and white. We're going to create a very beautiful landscape that's going to have all different shades of greens. It is going to be awesome. So let's go ahead and get started. First, I'm going to tell you about my colors. Here are my four colors. I'm using hansa yellow medium, which I want to point out that when I was practicing for this class I had run out of this medium, hansa yellow and I was using hansa yellow opaque. I was thinking they're similar enough, surely it'll work, but it did not work. I was not getting the shades of greens that I normally like to use and so I had to go track down this color for this class. Just note that all yellows are created differently. Just one yellow isn't going to give you the same shades of green that another yellow will give you. Experiment with your colors whenever you're doing this class. But the greens that I love to get come from this hansa yellow medium combined with this carbon black. There's a bunch of different blacks out there as well, there's ivory black, there's just different ones. I like the carbon black. This is a dark blue deep from this Blick Matte Acrylic paints that I've been using lately, which if you have payne's gray already in your painting stash, this would be equally as great. I just chose to use this one for this painting. Then matte acrylic white from the Blick line. You can use titanium white, whatever regular white that you want to use, but I'm using this today. Let me put those aside and we're going to start off the painting like I always start off. If you have taken my classes before, you know that I like to block off my sections when I sketch it out. So I look at the piece and I see here is a line. This right here, that's a section, then here's a section, then there's a section and then the background, there's a section back there. That's just how I'm going to start off, I'm going to start sketching out my sections. Think about the proportions in relation to your picture plane. We see that this only takes up about, I don't even know, it's less than half of the picture plane. Just think about that when you're mapping it out on your actual paper. Here's about half, so we're going to go down a little bit too about right here ish. Start sketching. If you don't get it right the first time with your sketch, no big deal, I rarely do. I usually just do a lot of sketching on top of stuff, that's why it's called sketching because you can just sketch. That's a pretty good basic map of what I have gone on. Okay, so now I'm going to look and see, are there any been more shapes within these shapes? I can see, so here's this triangle or whatever this is, this wedge right here. There is also a line here that sections this off even smaller. I'm going to draw that in. and it goes like that. Then there's a line here which is really just a bunch of trees, but I'm looking at it in terms of shades of green and physical lines like that's a little bush line or tree line right there. Then here I can see there's a short section there which carries on with this [inaudible] right there. Then it seems like there's a V-section. We mapped that out. Now I'm going to go in and just loosely draw in the trees and stuff. There's tree there. I'm not even doing like trees and just scribbling just to give them a holding place, just somewhere that they know or I know where these are supposed to go when the time comes to put them in. There is a house right here. But I'm going to keep it out. I've done a bunch of paintings where I did include the buildings like in landscapes. But personally, I think I've just enjoyed leaving them out because you see just the natural landscape, which I love especially in Italy, it's amazing. 4. Painting Process - Part 2: This was such a special. I don't even know if I said this. This is Italy. This is the Italian countryside of Florence. My husband and I were riding Vespas in Italy about two years ago and we drove by this landscape and I did my phone where I can just do continuous shots and I got amazing photos of this and it was breathtaking. Painting this picture today is special for me because I love. That is one of the best memories I have ever had. If you have the opportunity to go to Florence, look up, walk about Florence and take their tours because they were incredible. I'm also seeing a dark shadow here that connects to these trees. We're going to go there. We know that that's going to be dark and tip, sometimes I do this, sometimes I'll even write dark or light, especially if it gets really really scribbly in here and it's hard to see where all my lines are right in the color. Since I'm doing, this is going to be semi monochromatic, which is greens. I'm writing in dark and light, but usually, that'll be like red, purple, green, whatever. That's a helpful trick. I like how that sketch. I think this could have a little bit more dimension to it. Let's get started mixing our paints. Like I said, we are only using four colors. This is a great exercise to do. Totally, will just push your boundaries. It'll make you think about individual colors differently because it's really neat seeing all the different colors you can get from one shade of green or whatever, one combination. Because I could paint this painting with 20 different colors if I wanted to. But we are limiting ourselves. Sometimes the magic happens when you limit yourself, which is the opposite of what we are always telling ourselves, don't limit yourself. But sometimes in art, you should limit yourself. It forces you to be more creative. I got some new brushes the other day that I love. I got a bunch of filberts, I love my filbert brushes. This is a Da Vinci size 16 and it's just a filbert. I'm going to start off with this one today. To my right, which you can't see, I have my IKEA cart. It's just little rolling utility cart and have a bucket of water and have my paper towels that I clean my brushes off on the top of it. Let's just start mixing some green. I love the green that I get from this hansa yellow medium and this carbon black. I did an entire Italian landscape series. You can see them on the website. That's when I discovered all of this was because it was just the most beautiful olive green. I really stumbled upon it by accident. But I love this green. Tip. Because I am using golden, regular acrylics, not the open, my yellow tends to dry up quicker. Same with the black colors. These dry pretty fast. Open acrylics by golden are slow drying. My black will be great on there. It'll stay wet probably the entire class, but my other colors, they will get dry pretty quick. 5. Painting Process - Part 3: So I use this just to mist my palate throughout my whole painting just to keep it wet. Looks it's great. The Hansa yellow medium in carbon black give you a very nice olive green. What I like to do is I like to get my main color green mixed, then I mix colors off of that. So we've got a nice green here, then I will usually use a little bit of white and I'll mix like a branch off of that. Then maybe I'll mix a branch off of this but I added a little bit of yellow so it's even another different shade from this color. It's like the mother green and it's making all these little green babies. Let's go ahead and paint. We'll use the paint that's on my brush because I was going to wipe it off, but that's wasteful. So let's go ahead and paint in some lighter colors. Look at that green, isn't that great? I just love it. What I'm doing right now, is I'm just blocking off my shapes. I am just sticking just because I have light paint on my brush. I'm going in and I'm painting the light sections of the painting first, which it doesn't matter which order you do it. If you have dark paint on your brush, go do the dark sections. Just do whatever feels comfortable to you. Let me clean my brush. Start putting in some of these darks. That's pretty dark, but I can always lighten it up, no problem doing that. It doesn't have to be perfect, just needs to be done. That's one of my mottos; Pretty over perfect. It takes a lot of pressure out of life, so good motto to go by. Feel free to use it. I can already tell my paint over here. This is getting a little dry. I am going to mist it again. My paint dries faster because I live in a very dry climate. If you are somewhere with really high humidity, may not have the same dry issues that I have. So just keep that in mind. Sometimes you can add too much water to your paint, but you're less likely to do it with a mister just because you're not dumping water on it. 6. Painting Process - Part 4: That mapped out. Now, we're going to add in a little bit of blue, just got to smudge a blue, and I'm adding it into this green up here, adding a little bit of black. The background of the picture is a blue. You can see it's pretty blue back there. So we want this to be, that's not blue enough. We want this to be separate from the rest of it, to stand out. Which I will definitely be going in and adding more details as I get this all painted. We are blocked out form this part. I'm going to rinse this brush and I'm going to switch to a smaller brush. I want to go ahead and say this, if you are painting this right now, stop what you're doing and take a photo at whatever stage you're at right now, and then take photos of your piece throughout this whole process when you sketch it, and then when you have it blocked out, when you put the sky in, and just keep taking photos because it is such a cool thing to go and flip through all your photos and just see where you started and where you ended up. It's incredibly satisfying, definitely do that. I'm going to use another silvered. I just got these brushes the other day, that one I was using as Da Vinci but then the rest of these that I got are Princeton brushes and they're filberts and I got one round brush. But they're great and they're not very expensive. They are more on the cheap side, good brushes and I'll link all of these in the class description as well. I'm going to work on the trees. I'm going to actually do something a little different. I feel like my first reaction is to paint them dark just because they are dark. But I'm going to paint them white so that they have like a background to them already and then I'll go back and paid them dark. Again, not trying to be too detailed, just trying to get the idea of this in. The thing about filbert that I love about these brushes is that there's two ways to use it. You can use it flat and you can use it on its side. So watch how I just change how I'm using it throughout the piece. I don't even think about doing it I just do it. Just rotating my brush whenever I need to get a different shape. This is a great brush because you do get a round shape, either a fat round shape or a narrow shape, which is great for these Italian Cypress trees. I believe they're cypress. They are really, really cool to see. They remind me of my grandmother. She loves Italy. She spent a lot of time traveling and loves Italy. Ever since I was little girl, I would see these and they remind me of my grandmother and then I had to experience for myself. Just a special memory. I am going to start adding in some different values into the landscape. I want to use this brush for now just because I have it or maybe I'll go through and add some dots in here while I'll have it already here and loaded up with paint. My Italian Cypress. 7. Painting Process - Part 5: For the most part I'm painting just like with a wet on wet technique. I'm not really like letting things dry before, I paint on them again. I say that but some of these paints dry so fast that you do end up painting a little bit on dry paint, which is fine. It's totally up to you. Give yourself the freedom to experiment and give yourself the freedom to fail as well, which is not failure, it's just a step in learning what works best for you. Try painting wet on wet or wet on dry. For example, right here, this green underneath was still pretty wet, so when I went back over with the dark, it's blending more, it's not ideal. I'm not loving what happened right there, but that's okay. We will deal with it and we'll come back in and paint it once it's a little bit more dry. Actually, before I start working on the landscape some more, I'm going to go ahead and get my sky in. Because I've told you before if you've taken other classes, I like to go ahead and at least block out my sky just because in the past I've painted something, and I love it, and it just looks amazing, and I'm like, "Oh, okay, I'll go put in my sky", and I put in my sky and then sky completely changes the whole feel of the landscape and then I don't like it as much. I learned my lesson. Put your sky in early so it doesn't come as a surprise when you put it in again. When you just mix it in over here, it's a little blue, so I'm going to put in a little bit of black just to not make it so blue. This blue is a pretty strong pigment, I'm trying just a little dab. I'm going to look at my actual sky in the photo and try to mimic it as best as I can, mapping it out where I'm seeing blue. Also this brush is literally my favorite brush for painting skies. It is made by Blake and it's a relatively cheap brush, because paint brushes can get expensive just so you know. This is a great brush for sky because of that [inaudible] edge, is just so good, I love it. Anymore paint? Put that there, so I can go for it over here and mix this blue. I'll probably get some green in the sky and that is totally fine. I feel like every sky I paint I end up getting a little bit of my other colors in there just because I'm using the same white, then I'm pulling all of my white from just for the rest of the painting. I like the effect that it leaves. I also like what I'm doing right now. I want to tell you what I'm doing. I am just going along the edge of the landscape with my giant brush, but you will notice that it is very imperfect. I really like this look. It's not like I'm going through with it. I did a little fine brush and doing these really detailed paints around the trees. No, this gives it a really interesting feeling. Just keep in mind things don't have to be perfect. I don't have to paint around the edge of every tree. Let it be messy. Just explore what you want to do and it'll be good. I block this and then now I just painted out pretty much all the cloud motion that I had in there, but that's okay. I'm going to go through it and I'm going to add more and more. So just with the white square, more white out anyways. My clouds are always a work in progress. They just evolve over time and it takes me several strokes to get it the way that I like it. 8. Painting Process - Part 6: Oops, I guess splatter paint over here. Not a big deal. It's okay. You mess up on something, remember you can always paint it out that is the beauty of paint you can always paint over it and actually, I don't know if you can tell that there's definitely green in those last strokes that I was doing. We're going to leave this guy alone for now and I have to rinse my brush. Which first here's a tip. I first wipe my brush off on paper towels. It'll be something like this and I'll wipe it off and it gives much paint and I can't off because then your water last longer and you don't want to have to go change it out. I don't normally do it on my hands though, so keep that in mind. Rinse your brushes really well because you can ruin really nice paint brushes if you let the paint dry in there and don't ever leave your brushes just sitting in water. Because I have found it will cause them to rust, and that will loosen the metal part and then your handle will come off and it's just not a good practice to do, and it's also good to clean your brushes like for real, every now and then, which I use this stuff. It's called the Masters Brush Cleaner and Preserver and you can find this in any painting store. What you do is you just get a wet brush over your sink and you just swirl it in there as much as you can and I think it is comes and liquid and even a bigger brush pod thing like this, and it's just a great brush cleaner, so that's what I use. I don't clean these all the time with this. But if I'm feeling like my brushes need a good cleaning, this is what I use. I can link to that as well. Let's see here, I'm going to start a little I don't know what that was. I'm going to start adding in some different colors here in the landscape. Right here there's a yellowy greeny color. Here's more of a green, dark, lighter green, light green, dark, light, dark, darker, muted, darker, green. We're just going to try to figure it out and paint them through. Just watch me do that. I need more yellow, I want to get a nice all green. This is that nice, darker, muted gray. I'll see up a little there, because I don't I think you can still see it. That's in the bottom. Let's just put some of these strips in there, and I like to change my brush sizes and that's something I want to encourage you to do, is experiment with different brush sizes. Because the smaller the brush size, the busier the painting, the larger the size, the less busy to painting because there's just not as much movement. Just experiment with the different sizes of brushes that you use. I'm seeing some nice lights right here. Look at that, that's real nice. 9. Painting Process - Part 7: Then there's one here, just taking it off the edge and what's so neat, I love this. I'm going to take the tape off on camera, because it's like my favorite part of the whole process is you go and it goes off the edge here and it looks so messy but when we remove that tape, it's going to be primo. You are going to love it. At least I hope you love it because that's legit one of my favorite parts of this whole painting on paper process. This is very exciting for me. All right, I'm loving those lights in there, there's bold strokes of light green, and I'm now going to go in and do some bold strokes of dark green. Okay. First of all, I'm going to just define this edge. These lines that we've got, so we don't forget about them, I mean we won't, but mainly so we can see them better. So I'll give you all just a little bit more history on this trip just because it's fun and I'm just mixing paints. But the day before we were riding Vespas all around the hills and taking all these amazing photos, we learned how to make pizza from Italian chefs. It was actually through the same tour company walkaboutflorence.com, and I am, just to be clear, in no way affiliated with them. I just love them so much and I recommend it to anybody who I know is going to Florence and I'm like, "You have got to take a tour with them because it was awesome." But we learned to make pizza with these Italian chefs and it was so much fun and it was like basically a view like this. Like they had an outdoor kitchen with an outdoor wood fire grill or oven, and in the cooking class section, it was like these gorgeous long wooden tables in it, like the windows opened out and looked over a view like this. It was absolutely amazing. So if there's anything that you do take from this class, I want you to just take note, if you go to Florence, take a class, take some sort of tour. They have all sorts of stuff, but I recommend pizza class and the Vespa tour because it was so much fun, and they have really amazing guides who are very personable and funny and just really, really great. It was an amazing experience. All right, I'm going to go and I'm going to try to add in. Well, okay, I'm going to finish with this, because I want to change brushes, but I have a bunch of paint on here and I don't want to waste it. So I'm going to go ahead and add in more darks with this brush then I want to change brushes to my smaller brush, so that I can get these trees in because I'm missing those trees and need to get some trees in. This really is making me want to go to Italy, right now. I love Italy. I'm going to use my round brush that I got the other day. See, this is a round brush, it's also by Princeton and it's a size four. But I love round brushes because you just get like a very unique stroke and they're great for details because you could, if I wanted to, get in here and paint in between these little spaces. I also, when I watercolor, I use round brushes pretty much for everything, so they're a good brush, nice brush to have. Okay, let's get those trees a little bit more defined. So I want to bring these back into the painting because they kind of disappeared. 10. Painting Process - Part 8: Now another brush that I really like to use for trees, which actually I might even like that one better. Let me pull it out so you can see it. This is a great brush for a lot of reasons. But for Italian trees, I believe it's this angled flat brush that I really like, and it's made by Princeton. This is actually called an Angular Shader. I like to call it an angled flat brush. Let's see. I think this is my favorite Italian tree brush. Well, it doesn't matter. Whatever brush works for you, just play around with different brushes. That's something I was telling Taylor that day, I wish I had access to literally all the brushes so I could just figure out what my favorites are because, it's like a pair of shoes. You want to try on a pair of shoes, but you're not going to like that perfect comfortable pair of shoes that you want. You just got to try them all before you find the one. That's how I feel about my brushes, we've got some. Now I'm go through and just try to add in some of the variation of stuff. Another thing I want to encourage you to do is change up your brush stroke direction. I have a lot of brushstrokes going long ways, horizontal. I'm about to switch that up because, I like to have variation. I just think it adds interests, so down here I'm going to have change this up a little bit more of my real dark green over here because it's drying up. Just some different variation in our strokes. There's some obviously light a whitish color in that part. At this point I'm just going through and adding variation than looking for darks and lights and different shades, that I want to paint them. What else? Isn't this neat though we've only been using four colors and there's so many different greens in here. When I was first planning this class out, I think I have four different yellows on here, and then when I was actually practicing, I was literally just using one yellow. That makes this even better, even more so of a limited color palette is not that, it's just limited in terms of blue, black, yellow, but like a bunch of different versions of it. It's really limited, and I think that makes a pretty unique, and just unique in a different thing to learn and explore, there are some darks. We will definitely go back into this background, add a variation there. 11. Painting Process - Part 9: I can't wait to take the tape off because it's going to look so good. I always just anticipate that the all time because, men, that looks messy, but it is about to look real good. My friend and I, Dylan, which a lot of you probably know her, she's a Skillshare teacher, Dylan Myers Winsky. Pretty positive, I said that right. She and I were talking about the magic of taking the tape off of paintings. It absolutely transforms the entire piece. It's amazing. That's just the fun tidbit for you. But if you all haven't taken Dylan's classes, go take them because she is an amazing teacher. She will teach you how to work Illustrator, and Photoshop. Just really amazing digital graphic design focus classes. I'm going to be done with that for now. Try to get some of this paint off so I don't have to waste it. I'll to go back and work on my background, the blue background. I like to jump around my page. I'm not just doing a section and finishing it and move on. I go back and do it all a lot. That's my personal taste. You may like to focus on a section, get that section done, and then move on, totally fine. It's up to you. It's just like your own personal preference of how you like to work. But that is how I like to work. Just again, practice until you figure it out your own gem. Get some of this green blue over here, add a little bit more blue. I'm using my round brush, I'm painting over trees that I have already painted which is fine. I can just go back and plot them right back in, no big deal. I want to do some really nice variation in this back with some obvious blues, which we can't really see that. I'm going to have to bring it out with white and I will in just a second once i get these in there. Let's get a little bit of white and mix it in there. A little bit more. This is what's cool about painting is you've got artistic freedom. You have artistic license to do whatever the heck you want to do and if this is not accurate and doesn't really matter because it's up to you. You are the artist. You've got the freedom to do whatever you want to do. I was trying to paint lighter in the lighter parts of this piece and we're going to go in and just keep adding some variation to this. Now I'm going to add these trees back in again and paint it out. I like that. I really like that color blue. It almost feels like the ocean, which is always a fun one. Fine color to achieve, deep blue. I really need more blue on my palette. Trying to paint with the scraps over here and it doesn't always work out. 12. Painting Process - Part 10: I really like how dramatic that stroke is. It's so good. Now, I'm going to work on my trees again, get those good and happy and where they need to be. I need to mist my palate because it's getting dry so fast here in Phoenix, and it makes painting with acrylic somehow difficult. But if you've got the right tools, you can do anything. So it's okay, and I have the right tools. I have a mister or I have slow drying acrylics. Again, I just go. I do layers, upon layers, upon layers, upon layers. When I paint, I keep going back and forth. I'll go back and do more darks in those spots, but I like this. This is, to me, where it gives a lot of interest to a piece. When you could look at a piece and you can tell, well, that tree has about 45 layers in it because that's how she paints, and I'm going to use this really small Da Vinci brush for these smaller trees over here. I think it'll be better, and this is a special brush. I got this in Florence when I was a student studying abroad 10 years ago. I cannot believe that so much time has gone by that I was living in this area 10 years ago, taking our classes. It was an experience that I will treasure for the rest of my life. That's what this trip where I took this photo was special because my husband, he'd never even been to Europe at this point, and I have been been talking to him, telling him when I was a student, when I was in Italy, and it was special getting to take him and show him my old apartment, and just where I lived in that time of life because we were friends at that point in college, but we were not dating. We weren't together at that point, but that was a really fun thing just getting to take him back to part of my life that he wasn't physically a part of at that point. This was such an amazing trip. Italy is such a magical place. Lighten that and I'm going to add in some dots to those trees, and really like the darkest dots in here are pretty much black. You could even just straight up paint in these trees as black, which I'm practically doing that just because there is some green mixed into this, but it's just mainly blacks. Notice that I'm not painting completely over the tree. I'm leaving some parts of the under painting visible, the lighter greens. 13. Painting Process - Part 11: I love this. It's an abstract landscape and it totally looks like a landscape, and if anyone's familiar with Italy, they would notice, hey, those look like those Italian cypress trees. My favorite types of paintings have a little bit of an abstract flair to him just because it's not totally obvious. Like I do paint a lot of very detailed, more photo-realistic stuff too, but I love painting stuff that is just more suggestive than accurate. It's fun and it's good practice and it keeps you loose and just really good. Alright, so now I'm just looking for highlights, if there is something I really would like to highlight in the piece. What's over here is there anything that needs to be highlighted and there's a little white spot there, if you can see that. It looks like there's some stuff right here that could be brought out. That's pretty good and then right here, and then say here and this definitely, that's probably like the brightest part in the painting is right there, well and here. We'll make these kind of like yeah, bring this one made this little brighter just because it's in the front and there's some right down here. I love how that turned out because this is like even more so like abstract the other pieces because it's like stroke is not like blended into much, I like that. We're just going to do a little bit of just kind of dabbing a little bit to separate some of these trees, which you don't have to do but, because they are fine how they are, but I'm just going to do a little bit, or maybe bring a few of them just forward with a light strokes so they are not in different levels of the picture, that the field. All right, I like that. Let's look at the sky one last time. Where did my sky brush go? It's right in front of my face. Feel like we could use a tiny bit more drama in the sky. When is drama ever tiny? Let's be real. Look at that, there's some serious green in that paint right there. Which I'm okay with, I have no problem with bringing in the green. Hey, I don't know if this is in the picture plane because I kind of ran out of space on my palette, but I'm just mixing more sky blue and white. This is kind of nice because this green almost adds to like the stormy not stormy but it was cloudy. And it didn't rain that day, but it just, Italy has just incredible skies, just beautiful clouds and really spectacular skies. Look at this drama I'm loving it. I think I'm going to leave it at that because that is very dramatic. We're going to leave it like this. Alright, I'm rinsing my brush. Okay, so what I'm going to do, is I'm going to let this dry and then once it is fully dry, I'm going to take the tape off with you on camera because I just want you to see what you'll do it, like in your own painting yourself. But I just loved doing this and it's just part of sharing the joy with you. I'm going to take the tape off and we'll see what it looks like when it's done. For now this is finished, and I will see you all in the next video. 14. Final Painting and Final Thoughts: The painting is dry and now I'm going to remove the tape. My favorite part of the whole process will get that clean edge, looks so good. Always do the two matching sides first. It's like unwrapping a Christmas present or something. Last one. Look at that. Now we have a beautiful Italian landscape only using four colors to paint the whole thing. That is pretty amazing. It went from this to that. That's pretty cool. I hope you learned something new with this class and that you enjoyed this whole process. Please paint something and then upload it to the project tab under the video and show me what you did and if you have any questions at all, let me know and I'm happy to answer and help as much as I can. Thank you so much for taking my class and I will see you all next time.