Acrylic Painting: Wildflower Landscape Vista

1. Introduction: Hi there. Welcome to my acrylic painting series where each class within this series, I create a painting study to help you build your skills as an acrylic painter one project at a time. In this painting study class, it's all about a wildflower landscape here in my neck of the woods. This would be a view towards the coast in early summer. The Pacific Northwest coastal area of the United States is known for being green with thick forests, emerald green valleys with many rivers and streams and of course, meadows. In this study, I added it all because I can, and you can too. In each study, within this series, I'll demonstrate step by step and throughout I'll explain concepts, principles of design techniques, and my process as an acrylic painter. If we haven't met, my name is Bridget Miller. I've been a decorative painter for over 30 years and now I teach what I know here on skill share for those that want to get started in this versatile medium in the future, if you'd like to continue painting with me, follow me here on Skillshare to be notified each time I add a new painting study to this series. My aim for you is to not only learn how to paint with acrylics, but become proficient with regular practice and consistency. Expect to see about one new class per month going forward. Each time you complete a class and create a study painting, you'll be able to upload it to the student gallery for an evaluation by me if you'd like, or to create a catalog of your progress. You'll be able to see all the other projects from others taking the same. It makes learning fun and it motivates you to keep growing your skills. Now if you're a beginner ready to become an acrylic painter, or maybe you're just here to brush up on your skills, or maybe you want to learn another process to break out of a rut. Whatever your reason. I hope I've piqued your interest to paint with me. Meet me in the next lesson and I'll get you started in this wonderful medium. See? So. 2. Class Project: For the class project, I'll take you step by step to paint this study of a wildflower landscape vista. You can paint along with me virtually side by side, or you could watch through and then paint on your own. I'll be demonstrating on a 912 canvas board. But you're welcome to paint your project on a stretched canvas or wooden plaque or even paper. That's up to you. Bear in mind that you'll need to prepare your surface. If it's not a pre primed canvas like I'm using for instance on wood, you'll need to seal it with made for wood to prevent oils from the wood from seeping through over time. If you choose to use watercolor paper, a couple coats of Esso or latex paint will make it less porous and more ready to accept acrylic paint. Any size you choose for your class project is fine. Just adjust your brush size to accommodate the size of your chosen substrate. Once you complete your painting, upload it to the student gallery for everyone including me to see and comment on. It's a wonderful way to encourage each other while learning the skill of painting. To upload your project, click on the Projects and Resources tab. Below this video to the right, you'll see a blue Submit Project box. Click on that, then press Upload Image, choosing your image to upload. Then you can move the slider to enlarge and click on the image to adjust the position. Then press the green Submit button. Once it's uploaded, you can title your project and write a description for your project, describing your process and whatever you'd like to say to others taking the course and me. You can also add more images if you'd like. If you just want to keep track of your projects and don't want to share, you can also check the box to keep it private. Once you're finished, press the green published box and voila, project is uploaded. Just like that, you'll receive a certificate of achievement and you'll be able to keep track of your progress on your profile page. I'm looking forward to seeing your project and answering any questions you may have throughout this whole process. In the next section, I'll go over the materials you'll need for this class. See over there. 3. Materials: For your course project, you'll need to gather up some materials before getting started. To save time, I created a materials check list for you and you can download it from the Projects and Resources tab under the video of this class. And then you're welcome to skip this section. If you like class project, you'll need a surface to paint on. I'll be using a 912 inch canvas board. You can use a stretched canvas as well. Like I talked about in the previous lesson, acrylics adhere very nicely to paper and wood. Just make sure to prepare your surface for acrylic painting before starting the class. You'll also need some acrylic paint. Any acrylics you already have will probably be fine. I wouldn't purchase more just for this class. However, if you want the exact results that I'm achieving in my demo, I will be using the Liquitex professional brand heavy body acrylics paint set that comes with black, green, blue, red, yellow, and white. This set I'll be using the three primaries, Ultramarine blue, yellow, light Hansa, tall crimson, and titanium white. I will not be using black or green for this course. I'll also be using Cerilian blue that I stole from my Windsor and Newton set. If you have a different set or need to mix and match, I do it all the time and I've never had any trouble with the medium, not blending together well with other brands. For brushes, you'll need a 34 inch flat brush, a two inch Filbert brush, a number six round brush, a number three round brush, and a number one liner brush. These are all synthetic brushes designed for acrylic paint. Stay clear of watercolor brushes which are too soft for acrylics. I'll also be using a palette knife. I have a metal one here that's flexible. You can also use a flat brush or a Filbert brush, a small natural sea sponge, a fan brush. If you had one, I wouldn't go out and buy one just for this class. You can also use a ruler to steady your hand. Lastly, a color wheel. In addition, you'll need a palette. I'll be using paper plates. It'll also be a good idea to have several on hand, as I also use these to practice my techniques before painting on my project. Some additional supplies are a container for water, for rinsing your brushes. I like using this nifty container with two sides. Because I wash my brushes out on one side and the other side, I keep the water clean. If I need to add water to my paint, I won't be using dirty water. I also use paper towels or a cloth to wipe messes, blot my brushes, et cetera. Chalk Just regular sidewalk chalk for sketching, but not least, a hair dryer to speed the drying time between steps. Once you've gathered all your materials and you're ready to go, meet me in the next section and I'll demonstrate the first step. See as soon. 4. Underpainting: The first step in this painting is to paint the entire surface with a midtone color. You don't want to paint with too dark or too light, because this mid tone color will be used to gauge your darks and lights as you paint. It's also the color that will peek through any areas that are missed, either purposefully or accidentally. Instead of the white canvas showing, you'll have a beautiful hue that complements your final design. I chose a warm orange hue to offset the cool blues of the sky and the greens of the grassy hill. Orange complements blue very well. You can choose your underpainting colors by looking at the color wheel if your final design has a lot of reds and warm colors. If you look opposite the color wheel at the colors, complimentary color, that is usually a very good color to use as an underpainting orange is my go to color, but I do like to switch it up once in a while. If you want to know more about why I underpaint, you can go to my introduction to acrylic course. And in less than seven, I go over it in more depth for this step. Mix red and yellow to make orange and cover the entire canvas. Don't fret about brush strokes showing or it being streaky, as most of this will not show in the final design. You can mix the colors together using your 34 inch flat brush. But it is better for your brushes to mix your colors with a palette knife, you don't get paint stuck high up in the bristles of your brush and wear them out faster. If your paint doesn't move well on the canvas, add a little water onto your brush or sprit some directly on your palette with a spray bottle. For a more finished looking end result, paint the edges if you choose to frame your piece at some point, depending on how you choose to frame it, the edges may show. And it looks better to have them painted after you've completely covered the canvas dry completely by blowing it dry with a hair dryer. Or waiting for 20 to 30 minutes to air dry. In the next lesson, we'll paint the sky. See you over there. 5. Sky: The colors you'll need for the sky are dark blue. I'll be using a thalo blue that came with my Liquitex set. An ultramarine or cobalt would also work really well. I'll also be using my Cerilian blue, which is always good to add into a sky. And of course, white, minus titanium white. Firstly, I'll mix the thalo blue with white. And using horizontal brush strokes, with my 34 inch flat brush, I'll have you paint the top inch or so. After rinsing your brush, wet the canvas a little bit about 1.5 " down from the blue that you just added next. Add white and serilian and create a gradient by swiping into the dark a little and bringing your brush strokes down about halfway on the canvas. A lot of blending with your brush will make it soft unless we'll give it a more painterly loose look. I'll leave that up to you. Go lighter, and lighter, and lighter as you move down the canvas. This will create the gredient next layer, another couple inches of serillan mixed with white in between the dark and the light that you have on your canvas. I'm leaving some of my underpainting showing through because I like the warmth that provides. Lastly, while it's still wet, add some swishes of straight white. These are the start of our clouds. You should be about halfway down your canvas at this point. Okay, that's the sky Now, I'll dry it completely, and in the next section, I'll add some clouds in more detail. See you in the next lesson. 6. Clouds: Welcome back for this part. I'll demonstrate some clouds using a palette knife and titanium white heavy body acrylics. I'll be using a flexible metal palette knife. I prefer this over the plastic ones because they hold up to the pressure I use for my techniques. I've snapped off quite a few plastic ones because they're similar to plastic eating utensils. For this technique, I would suggest having a moist cloth at the ready just in case you'd like to remove any strokes that do not have the look that you want. Scoop some white and lightly run it over your canvas until the paint transfers. Experiment with turning and dabbing to achieve lively strokes. These are what sets apart painting from drawing. The Impasto technique is usually laid on with a palette knife, but not always. And it's just where you use the paint. Thick, very thick. Have fun with this. Think about puffy, cumulus clouds as you paint. Small circular motions will make the puffs. If you want an area to be more blended, you can use a soft cloth, maybe slightly moistened. Or if you want to show the background through the clouds, try rubbing a little out. Once you have it where it looks like clouds to you, dry it completely. Oh, remember to clean off your palette knife because the paint is thicker when using the empasto technique. Give it a little longer to dry, even when using a hair dryer. In the next section, I'll show you how to start the vista, which is the middle ground of your painting study. See you over there. 7. Vista (Mid-Ground): Hello again. For the vista part of your painting. I'll start by using a piece of chalk. I'll sketch a guideline to separate the foreground from the vista, which is the middle area of your landscape. My desire is for the flowers to be the main event or the focal point. I'm making them half of the composition diagonally in composition. It's good to divide elements into three. For example, in this painting, my flowers are half the composition, with the sky and the middle ground or vista being split roughly as the other half of the painting. This makes a more interesting composition then a painting being broke in exactly half or exactly thirds. Now back to our painting in my process for the next step. I like to block in the darkest shades first and then work up in layers to the lightest values. So I'm going to mix a very dark green with thalo blue and a little yellow. And I'll pink the foreground hill with this color. Then I'll dry that step completely. If you have a tube of thalo green or a very dark green, you could also use that. I wasn't sure how well you could see my white chalk lines. So I'm going to use a number two pencil and retrace the guidelines. Normally for myself, I just use white chalk guidelines because paint will cover the chalk much better. And any chalk left uncovered be completely removed with a moist cloth. When the painting is completed, add some crimson to your palette if you haven't already. A medium red or a magenta would also work with similar results. If you use magenta, you'll get a brighter, more vibrant purple. And if you use medium, red violet will not be as bright. I'm adding blue to red to get a blue violet mixture. Then when I add white, I'll get the tint of this hue. This is the color I'll use for the coastal mountain range in the distance. When you look into the distance, the further away something is, the less detail and the less bright colors you see. The sun's light rays are more scattered, so things will appear more blue. Painters use this to create the illusion of objects appearing farther away. This first mountain range is also my horizon line where the sky meets the land. I'll have you paint each layer of the mountains a different purple or blue color to make them appear farther in the distance. Then I'll make lighter versions of all those colors by adding white and add another layer to each respectively without completely covering the first layer. This will add dimension to my mountains. For the green mountains, I also added a little yellow, thus making it appear closer than the others. After I've dabbed in the colors, I dry it again and then I'll be ready to start the foreground. Meet me in the next lesson for that step. 8. Foreground : In this lesson, we'll start the foreground for this step. If you have some dark green left over, add some yellow and create a bright green with the 34 inch flat brush block in the foreground hill with a gradient from bright green to dark green here. I use my flat brush on its edge to establish where my hilltop is. Then I proceed to fill in the rest of this section until it meets the dark green area that we had painted in less than seven. I blend with the broad side of the brush, let as much of the underpainting show through as you like. While it's still wet, I add a few dashes of red, orange, and yellow. These are meant to look like flowers in the distance. For texture, you could also use your palette knife for this step. Just dip it in a little yellow and just run it along the hillside, similar to the way I demonstrated the clouds earlier, but not in a circular fashion. When you're finished, remember to wipe off your palette knife. Another way to add texture and a little more detail is to use your natural sea sponge dipped in a greenish yellow mixture to over the top of the brightest area of your hill. It's amazing what this little sponge can do for the technique. I'm dabbing with just enough pressure to transfer the paint to the canvas. After all that texturing, it appears that I've lost a little of my oranges and reds that I had dabbed in earlier. So I'm going to go ahead and make those mixtures again and just them in if you prefer the sponge technique, tap into the red or orange and give that a go, make your painting unique to your likes, that will lead to your personal artistic style. In the next lesson, I'll demonstrate the foliage in more detail on this foreground hill to prepare for our flowers. See over there. 9. Foliage: Welcome back for this step. I want to show you a quick way to add grasses and foliage. You'll need your 34 inch flat brush and at least three greens. A dark green, a medium green, and a light green. Three different values will give your grasses a three dimensional look. If you'd like to know more specifics about mixing green hues, I have an exercise in my class called Florals with a painterly approach. It's in my beginning acrylic series. If you check that out in less than eight exercise five, it may be helpful for you. The technique I used to make a lot of reeds of grass and flower stems is a brush stroke with a large flat brush turned on its edge. You could also use a fan brush if you have one. If you've never done this before, practice on a paper plate or acrylic paper to get a feel of it until you're comfortable and then move to your canvas. Remember to have a moist cloth handy so you can remove any strokes that don't have the look that you desire. I add the darkest grass like strokes first, then I add some medium value green brush strokes in the same style. To mix your medium green hue, add a little yellow and maybe white as well until the color lightens significantly. Then do the same zigzag back and forth stroke that taper over the top of your last step. Be careful not to cover all your darks. You'll need those to show the recessed values of your hillside. If your green is brighter than you'd like, add a little red and it will tone down your bright green. For the lightest green value, I'm going to use a palette technique just to show you that effect. If you'd like to try this scrape along your palette to pick up a bead of color along the edge of your knife and in the same direction as you want your reds. Run it at an angle until the paint catches onto the canvas. It's painterly and not as predictable as brush strokes. So it adds an interesting liveliness into your painting. If you get too much, either wipe it off with a moist cloth or scrape through it and work with it and see if you can get the look you want that way. Experimenting is so important painting, no matter what level you're at, after you're done with adding all your greens and having fun with all the techniques and getting it to look like you want. Dry it completely and meet me in the next section and we'll start the poppies. I love the flower part. I'll meet you over there. 10. Poppies: Your back. Great. In this section, I'll demonstrate how to paint the poppies. For the next three lessons, you'll be painting the wild flowers, so you'll need all five colors on your palette. Red, yellow, dark blue, cerilian, and white. You'll also need a palette knife, a two inch filth, and a number six round brush to start if you'd like. Since your painting is completely dry, you're welcome to chalk in where you'd like your poppies and other elements if you'd like. It's always good to follow a plan, but this is just optional. The poppies didn't go with a plan. They just dropped their seeds the previous year and popped up to fill us with their splendor To paint, the poppies, start with red or a red orange mixture and using your palette knife or a two inch filbert brush, dab blobs of color onto your painting. Everywhere you want a poppy flower, refer to the reference photos for accuracy. And know that I use reference photos just as inspiration. I just want the gist of what wild poppy flowers look like, blooming on a hillside on a beautiful early summer day. If you're not fond of the palette knife, you can also put in the poppies with the corner of your 34 inch flat brush or with a two inch filbert brush. Like I'm doing here, I vary the sizes of my poppies. I make bigger poppies closer to the bottom of the canvas and smaller ones towards the top of the hill. This will give the illusion of some being closer to the viewer and others being further away to add more dimension. Or three D look lighten. Your red mixture with yellow and or white until you see a lighter version of the color you are using. And dab that color on the flowers, where a petal might be catching the light of the sun. Puppies have a very dark center. I mix a very dark purple with my blue and red. I also add a little tiny bit of yellow to make it almost black. And add that to the center of the flowers that I imagine are facing me, where I can see into the middle. If a flower is a side view, don't add this color while I have this color on my brush, I also add a few other dark bits around to indicate other flowers. Then I use a lighter green paint mixture to dot the canvas showing where maybe poppy buds are. This looks finished to me, and if you feel yours is finished as well, dry it up completely and meet me in the next lesson for corn flowers. 11. Cornflowers: In this lesson, I'll demonstrate how to add the blue flowers in our field. These blue blossoms were considered a weed, and they grew plentifully in corn fields in Europe. That's how they got the name Cornflower. Corn flowers are also nicknamed Bachelor Buttons because a long time ago, when men wanted to indicate that they were ready for courting or actively in love, they placed a cornflower in the buttonhole of their jacket. Isn't that sweet for the corn flowers color, you'll need to add a tiny amount of red to your blue until you see a deep violet mix. For the lighter value, add a little white to that mix. They come in white and pink too, so feel free to paint them the color you prefer. Just know that the wild ones are always the blue violet hue. I add the darker color first. Everywhere I want to blossom to grow. Using the tip of the number six round brush, refer to the reference photos to get a feel as to the shape and colors of this beautiful blossom. I'm going for a loose look and I just want the gist of what these would look like while walking through a field. So I'm not painting every petal. As you can see, I'm tapping with the very tip of my round brush lightly, just enough pressure to transfer the paint to the canvas. After I have as many as I want laid out on my canvas, I add some of the lighter version of the hue as if the sun is a light on some of the petals. I'm trying to make it look random. Careful not to line these up straight, and like the poppies, the larger ones are in the front and the smaller ones are farther away from the viewer with less detail. Once you have as many of these delightful blue flowers as you'd like in your painting, meet me in the next lesson and we'll add some white daisies. See you soon. 12. Daisies: Hello again. For the daisies, make sure you have some white on your palette. And I'll be using the number six round, but you can use any small brush you're comfortable with. In the reference photo, you'll see that these daisies have quite a few petals with a yellow center. But I'm just going to paint the white part. They're too far away to really see too much detail and I'm not interested in a lot of detail for this study. For each individual daisy, load your brush with straight white and tap around lightly pulling towards an imaginary center. Dot for the closest flowers. For the rest, just dot the canvas and cluster the dots randomly to appear as if they reseated themselves as they do in the wild. Sometimes I dot the canvas with paint and then while it's still wet, I use my digit tool that's attached to my hand to the paint and transfer it into other places. If you don't mind paint on your hands, this method works well for the flowers in the distance. Another method of adding the look of daisies is to use the wood end of your brush, dip it into the paint, and dot your canvas again. Clustering and then varying the sizes makes them look more natural and organic. After you've added all the daisies that you would like onto your painting, I'll show you one more wild flower before we wrap up all the details. See in the next lesson, for the wild yellow bush Lupin. 13. Wild Bush Lupine: For these lovely coastal wildflowers, you'll need yellow and a little white. These are prolific bloomers and I've seen entire hillsides of just these. But in my little world, I've added them as just an accent flower to this poppy field. Study painting these yellow flowers in a cluster at the top of a stem. I tap short paint strokes in bundles to emulate the way these grow. Just like the other flowers we created, I create larger ones in the foreground of the hill and gradually tap in smaller ones at the middle of the painting. This adds depth to my painting, so it feels three dimensional on a flat surface. I need a few more flowers in the distance, maybe some more poppies. So I'll mix a little orange with my yellow and red and just fill in with a few taps of my number three, brush on the far side of the hill. At this point, if you need more greenery to fill in between your flowers, you can use your Palett knife to carefully tap in more foliage strokes in between your flowers. You may not need this. You'll have to make that assessment on your own. Every field of flowers is unique. You do, it's your world. There's no wrong way to do this. I start with a few dark strokes later if I feel like I need it. I'll add a few lighter strokes. In the next section, I'll go over briefly some of the details I added to my painting, if you like yours, where it's at right now. Feel free to upload it as your project at this time and skip the next couple of lessons to meet me in the conclusion. However, if you want to see what else I did, meet me in the next lesson for those details. See you after you decide. 14. Details: Hello again. In this lesson, I'll add a few more details and highlights that I'll go over very briefly with you. And then in the next lesson, I'll go over a few optional elements and some more design decisions to wrap everything up. In this part, I added a little more highlights to my poppies just to make them stand out. More contrast adds dimension. I mixed yellow and red to make orange, and then I added white to lighten it until I saw this peachy color. Next, I'm adding a little more to the hill because it got a little lost amongst my flowers. Now, switching to my 34 inch flat brush, I'm gonna dip into some dark green and just do a few more grasses at the top of my hill. I'm going to also add a few more poppies to the background here a little bit, I just feel like I need a few farther away, less detail to blend that in a little more to the rest of the flower field. I'll add a few more of my looping and a little more finger painting. Next, I'll give you a few other options to create a piece that's more custom for your tastes. See you in the next lesson. 15. Optional Elements: In this section, I'm going to show you a few optional elements that you can add to help you create a design that's unique for you. First, if you'd like to add another cloud here, I'm adding one a little closer to the viewer and I'm using a half inch filbert brush. It's going to be large and in charge. Start by making a light blue mixture with your dark blue and white. Then after you load your filbert brush, rub lightly sweeping the canvas. In short strokes where you want your cloud clouds come in so many shapes and sizes that here too, like the flowers, it's really difficult not to create something realistically believable next in the middle of my shape, while the light blue is still wet, I add some white and blend it around with my brush so there's no hard edges. Then I add some cerilian under the cloud formation to make it look full of water. Then I add some dark blue still working all prima wet on wet. The wet on wet technique will give you a very soft blend of colors here. You could add a little red too, and that will give you a beautiful lavender color for the bottom of your cloud. You can add pinks, lavenders, and whatever colors you like, and blend them in until the edges are softened after each hue edition. Working quickly, while it's still wet, I add white more towards the top of the cloud and work it around with small brush strokes until I get a soft blend. I use the corner of this brush to dab and blend the white until it looks cloud, like cumulus cotton. Like concentrating on more of the middle of the cloud formation rather than the edges. Don't be afraid to head right off the canvas while I have that color on my brush. I'll also add some cirrus clouds that are a little longer and wispier and usually white. Just turn your brush on its edge and use it to make longer horizontal clouds farther in the distance. If you like using the pellet knife, you could add some more white in the same manner as the first clouds we added in less than six. If you want to pair it with a more blended look, you can use your Filbert brush to come into the empasto from the palette knife and blend it a little and with the residue on your brush, you could go into the sky area and rub in some of that pigment to indicate other cloud formations. Experiment and have fun with it. This is how you learn more about the medium and about yourself as well. Here in the distance. If you want more of an ocean look rather than a mountain range, you could straighten up this horizon line and put more blues in this background and that would give it more of the look of the ocean. I'll also give the other mountains a little more attention by adding some other colors for highlights. These softer colors will bring my hillside forward and push these farther back for more depth. By now, you should have a lot of interesting mixes on your palette to choose from. Here, again, experiment, and if you don't like it, just paint over it with a different color until you're happy with your choice. I'm pretty content with it right here, so I'll dry it up here. I'd like to add a river in my valley. The water reflects the sky color, so I'll make a light blue and use that using my number three round brush. I'll follow my chalk line and put my water in. You could highlight it with a little lighter blue mix if you'd like. If you need to clean the edge a little of your river line, come back in, like me, with a little green and use it to erase any edges that are rough in my painting. I'm also going to add a few birds flying in the midground of the painting, using my darkest color and thinning the mixture with a little water. I'll use my line or brush to paint tiny stretched out Ms that mimic the look of birds flying. I usually put in an uneven number, like 35 or seven. If you want more practice, put in an entire flock of birds. Again, I'll leave that up to you. This is your artwork, put your style in it. If you are not used to making tiny strokes, you may want to use a ruler as a makeshift mall stick to steady your hand As you make the strokes vary the size of the birds, thus making some appear and some will appear farther away. If you want to remove one, maybe it turned out a little quickly, wipe it off with a moist cloth, dry the surface, and give it another go next, if you'd like to know how to make a significant change to your piece, meet me in the next section. Otherwise, feel free to upload your project at this time and skip to the conclusion. Either way, See you soon. 16. Changes?: Let's say you change your mind about something like the cloud, no problem. Acrylics, make it easy to make a change by painting over the top. They're opaque and they'll cover the layer underneath. So feel free to make as many changes as you like to make this. I'll take this cloud by using the sky color to paint over the cloud and I bring it back to the way the sky was. First, add light blue to cover the cloud. I use the broad side of my 34 inch flat brush. Then I add my dark blue to the very top like I did when I first began the painting early on in lesson five. I mix wet on, wet the dark into the light until I see the gradient that I like at the edges. I use the very corner of my large brush and tickle the edges until they blend into the sky background of the layer below. Now, if you want a little more of the violets, add a little bit of red to your palette, Mix with blue, and add these in. You'll need to work quickly as this is still the wet on wet technique. Keep on working the paint in until you see the effect that you like. For additional blending, you can change to your filber brush. The remaining clouds are you can blend a little more of the background sky with that area or you could dip into a little light blue and make some other cloud formations that look farther away. Cirrus clouds are longer strokes and wis sphere, usually white against the blue background. Anything goes with skies. Each one is unique and each painting of a sky is unique. This is a place where you can let loose, be free, try a lot of different techniques, just have fun with painting. I'm gonna put that sky color in the ocean a little bit more in all my painting fervor, I didn't realize I'd dropped a spot of paint on my canvas. Good thing my background is dry. It's lovely now, but I think it needs some hot air balloons. I think I'll add those real quick. If you'd like to add some hot air balloons too, I'll show you in this next section. In a time lapse, if you don't want to add hot air balloons, go ahead and skip to the conclusion, and I'll wrap up this class. 17. Balloons Time-Lapse: I hope you enjoyed creating this painting study as much as I enjoyed creating it for you. If you have a couple extra minutes, leave a review and let me know your thoughts in the next section. I'll wrap it all up in the conclusion. See it there. 18. Conclusion: Thank you for being here. I hope you enjoyed the glass. Each class in this acrylic painting series will go over some of the same brush strokes and techniques and color mixes. And I'll introduce you to more as well. Follow me here on Skillshare to be the first to know when I publish a new class. Expect at least one per month going forward. Let me know how you did by uploading your project to the project gallery. I'm looking forward to meeting you through your art. If you want more classes by me straightaway, you can subscribe to my Youtube channel called Creatively, and you can also catch up with me on Instagram and Facebook. The links are on my skillshare profile page. Before I let you go, if you have an extra minute or two, I'd love to hear what you thought of this class. You can leave a review under the review tab below this video. It's very helpful to know how I can help you learn more about this wonderful medium. Well, that's all for this class. Thanks a lot for being here and I hope to see you again soon for another class in my acrylic painting series.