Beginners Guide to Fine Art Watercolor

1. Intro: Hi, I'm Adam and welcome to my Beginner's Guide to find our watercolors. This class is designed to give a good foundation to those just starting out in using watercolors. This is also for those who have been using cars that may have been struggling with aspects of this medium in this class of recovering habits and techniques that will give basic knowledge to starting in using this medium on how to handle your tools and works of art to give them longevity on retainer. 2. Supplies: so welcome. And let's go through the supplies that you'll need for this class. Some of these things aren't going to be used in the class, but I'm gonna go through the many weeks. They're just kind of the base things that I use in any watercolor painting that I do. So, first of all, watercolor paper, and we'll go through that more in detail later. Uh, brushes, watercolor brushes, No. Two jars for water. So one I like to keep clean water in that I draw from to put into my pigments. And this one I just used to clean my brushes. Paper towel, a pencil eraser. Those were all good things to have. I used a ruler, the ruler, one of these larger rules. Metal rulers are very handy, very. And then there are these pantries. Get ones like this have a myriad of little compartments to hold all your colors. But one thing that's really nice to have a hand or these kind of ceramic dishes. I just got these at the dollar store, and it's awesome to just dab a little pain and then have a big surface to mix your paint and just have big washes on these guys is really, really great to have also from time to time, I use masking fluid. No, this won't be used in this class. But it is great things have on hand. I also use a hair dryer from time to time to speed things up a bit. And then I also use, um brush cleaner and preserver. So this is another thing that would be good to have on hand. So, like I said, no, all of these things will be needed for this class. But these are the things that I used to create my works of art. 3. Brushs: now the first thing we're gonna talk about his brush is now. There's this set that I bought when I first started out painting this one here. This is the brush that I end, this one. This is what I started out with now, these paint brushes I've had for over 10 years. And if you take care of your brushes, you're gonna be able tow hold on them and they're gonna retain their values for years and years and years. No. When choosing brushes, you want to have a variety here that will give you different strokes and looks as you do it , like this one is one that will hold a lot of water and give you nice long strokes on your page down compared to this one. So the difference between this and, um, these two brushes because they're both one grade, this one is definitely gonna hold mawr pigment and more water in it compared to this one. So this is for a very, very fine detail, and this one is also fine detail. But you're gonna get longer strokes from something like this. Now you don't need all the brushes out there that you have like I have a 631 Well, here's another six, which is more square tip. But you can buy one a set like this and do the job now. This set, I believe because it was 10 years ago now that it was around 25 bucks for the full set. And this brush was another tan. This brush, I think maybe was close to another tense right there. You're looking about $40 this one as well. This one was made Another 10 bucks, 7 to 10 bucks, right here, looking around 50 bucks for these brushes now. And they cover a large spectrum. They do all sorts, washes. You won't definitely want one that could do big broad, um, areas. But this brush here, this is my especially brush. This brush alone costs about $70. No, you're going well. What the heck? You know, I can't afford that. Um, neither could I. And so, yes, I definitely saved up and treated myself to have a rush like this. But one thing about this brush is that this brush covers all of these brushes because of the shape of the brush. You can see that you can achieve a very, very fine tip that it goes down to them. This is a zero this spent paintbrush here is all the way down to zero, and you can achieve the same fine stroke. So when you're out there buying brushes, you can. You can go for something that's a little less quality, or you buy one brush that does it all. It does large washes. It does fine detail. So as far as things go, you want to have a brush again. You want toe before the best brushes you can, going cheaper with a big your brushes, your paper or your pain. And that's what is going to be kind of the theme throughout. All these talks that I cover is that going the cheapest is not always the best case. It's rarely best case in this sense, because you get this one brush covers all these and this very close to about the same price . So quality doesn't only mean just expensive. It means that you can cover a larger spectrum of things throughout that. So this is these were kind of the brushes that I use. You can choose whichever way to go, but do by the best that you can afford. No foreign caring for your brushes. I like to use a brush cleaner, and not very many people go in use soap or whatever on their watercolor brushes, but people just rinse it off and put it aside. But it is a good idea to at least once a month or bi weekly. Oh, clean your brushes with a soap. This is a brush cleaner and preservative, so it will help retain the the quality of brush helped them last longer and just be overall . Take care of your brushes because if you invest in thes tools, you don't want to be going and having spent it over and over again, and they will retain their value if you take care of them. So with something like this, you just take us off. You brush a little wet stumbling around and put in your palm white that rinse it off in the sink. And then, after you're done that you want to put in the water and then shape your brush. You don't want to just leave it all in a mess. You want to go and take it to paper towel cloth and just slowly twist it as you pull it across and dry off, and that way you can shape it in a will retain and shape minutes form. So that's the basic cover brushes and the care for them, and now we'll move on to looking at your water color paint. 4. Paints: So for your water color paint, you can see for my power here that I like to choose pains that have a very large total range straight of the tube. Some of these paints almost look black. And so that gives me a very broad spectrum throughout the total range of my pains, which requires me to not have to mixes much and to blend my pains. So, um, so I can achieve greater total range about them. Now again, there are different qualities, paints, different varieties, paints and all the way from professional to student grade. And there is a big price gap between those two. Now, again, with my choosing your pains, I'm gonna strongly suggest that you choose the best that you can afford. Now people will go in to see somewhere that you could get a whole kit for maybe a couple bucks. But those students aircraft grades are cheaper for a reason. And the main reason is is that student grades have more filler in their pigments, and so that filler and the pain, so they have less pigment than a professional grade would. So with these where it gets really dark, you know, you as you go down to student grades, they don't won't have his large range. And you're gonna be fighting with your colors to treat the tones and values that you're looking for in a in your paints. So I would very strongly again suggest to get the best paint that you can afford. And so these ones that I have here are mainly, uh, Daniel Smith paints. But there are other great brands out there, like Windsor and Newton and others. So again, you want to pick choose paints that have a large total range and that are most the most that you the best that you can afford in that because you're gonna not struggle as much and just be able Teoh use. They're just gonna be more pliable in your hand as you go and explore this medium. So that is the basic color paints. Now, I have a large variety of colors here, but I do stick to a very minimal amount of pain. Now, we're not gonna go into choosing a palette of paints at this time, but this is just the general value. When you go out and choose those paints, I'm gonna be using things like cold little blue and French Ultra Marine. Ah, spurt, Sienna. What else will I use in this? Perhaps this, um, gold, But it's gonna be very minimal. The types of paint that I'm gonna be using for this class, and you can use whatever variety of colors that you want. It's not so much important at this time what your palette of colors is, but choosing the quality of quality paints for you to use in this class. 5. Paper: So the next thing we're gonna cover is watercolor paper. Now you can get watercolor pads like these, and but probably the heaviest weight getting these ones is £140. I think maybe some come out there that air like a watercolor board or water counter. Oh oh. Are heavier weight around £300 These large sheets that I have here that I believe that our 30 by 22 inches, these are £300 arches. Watercolor paper. Now one of these sheets costs me $25. Just one of these sheets. And I was like, Whoa, that's super expensive. And yes, it is expensive. But most of the time I cut these sheets down into small portions like this. You can get eight sheets of paper out of one of these sheets but are close to equipment and a higher quality. Now, why I choose a £300 paper is because I can skip a step of stretching now. Anything that's kind of lower than £200 paper. You should stretch before you use it, so that's when you take your sheet of paper, soak it in water for 20 to 30 minutes, 15 to 20 minutes, something around there, and then you laid on another board. Take the edges down, and that allows it to dry. Stretch out and you'll get less buckling and warping of your page on, which causes pooling and all that kind of stuff in your on your paper's So your water comes will seep and flow into these crevices. And it can cause mixing and stuff like that that you're not one Teoh with using a £300 paper. You it stays flat, and it is very minimal warping, and you can, yeah, avoid that extra step of having to stretch beforehand. Now there's three different types of watercolor paper out there. You have hot press. You probably can't see the texture in the video, but I'll put the photo. We have hot press, cold press and then rough watercolor paper, and obviously the rough is the roughest out of all three of them, and you gain a lot of beautiful, beautiful textures from the cold press and the rough paper. Now, if you want to do very fine fine detail, hot press is great. It just depends on the effect that you're looking for Because this is all preference as faras the surface that you're wanting to work from, you can again achieve way more texture and different and all that kind of stuff from a cold press and a rough paper. Then you can with ah hot press. So again it comes down to preface preference in what you're looking for. No, Um, this is a professional, high quality sheets of paper. Now you have 25 bucks a sheet. Now, um, I have bought cheaper paper in the past as well and it a student grade, and it will not receive the paint the same way like there is this perfect balance of the water and the pigment seeping into your paper and then also staying on the surface and being pliable. And I just cannot find that I can achieve that with some of these lower quality pieces of paper. So as far as the the notebooks and the pads and stuff goes, those are great for experimenting or a quick sketch stuff. But if you're looking for paper that you're going to do, layer upon layer is going to do several layers of washes on top when she to paper you want to be able to be durable, hold up and be able to receive the water in the pigment that you're going to put onto it. And I found that this quality paper, this Arches brand, is one of the best that I've been able to find. And also they don't add pigments to whiten their paper, their papers naturally white where it is and so doing. The way that arches arches is being around for hundreds of years, and they have stood the test of time and so you. If you're doing a professional fine art pieces, you need to have stuff that's going to last long and be archival. And so this is the route to go. If you want something to be, have longevity and retain it's value this the way to go also, when handling your watercolor paper, you want to wash your hands. The oils from your hands can really effect how the paint and water received your page. I've done piece of painting where I've not wash my hands and touched it. And then there's a smart where the oily hands were touched here and the water won't receive into the paper anymore. so you could go to the extreme of using cotton gloves. But if you just wash your hands and trying to keep up a hands on the edge of paper, that's the best way to go and just keep your just minimal as much as you can to be touching your work surface. So now demonstrate how to rip your watercolor paper. I heard an artist one say that you're watercolor paper should always have these tourney rumpled edges. So for final pieces, I totally agree that they should always have these torm beautiful edges on your watercolor piece we're gonna measure. I know that this think piece of paper is 30 inches, just measured at 15 on its longest edge. And then you layer ruler along those marks we're going to do is press very firmly with your hand that holds a ruler, and you're just going to start tearing the paper up. Now, when you do this, you're not so much just pulling across and down because this paper is very firm, that you want to more, grab the paper and lift up, always pulling kind of leaning towards the ruler and pulling up on your paper just check my legs. I saw that it moved up like that. Reposition your hand, Always giving pressure. Where the rips happening? There you go. Have your two piece of paper. Now out of the two demonstration. I believe this is the harder way. So we're going to show you the other way that we go about this. So you take your piece of paper and you fold it in half. So now, again, this paper is very stiff. So you have to hold these areas where along this edge very firmly will press it down for exit will want to slip. So you just press down, get your edge, and then you're gonna fold it once the other way. Press it down, then you're going to take one person up on its TP. Ends with making a little TP here, and you go and rip start the end to rip. Here, take your middle faint pointer finger, stick it underneath the crease with your thumb and your other fingers. You're gonna create that fold there. Now, with the edge of your palm, you're just gonna hit the peak of paper all the way down and it will rip that edge re down , so just hit it. Do you have it? So that's how you terry pieces of paper. So now that you know how to hide your paper, we're gonna go move on to our techniques and our class project. 6. Class Project: so using the materials and tools that we just covered, we're now gonna dive into our class project. We're gonna cover three basic techniques We're gonna cover layering, washes and glazing. So we're gonna have three pieces of paper, one for layering, one for glazing and one for our our washes. And so we're gonna use thes six colors. Here were musical a blue French ultramarine, sienna, raw umber, deeps garlic and French Oakar. So you also need some clean water, a medium sized brush, paper towel and ruler. 7. Layering Part 1: so far, our class project, the first to meet we're gonna cover is layering. So I prepared this piece of paper. I've dropped some lines on it. I've given myself border and I've drawn four columns with six sections in each column. So what we're going to do is practice how to build up and layer are watercolors on our paper to build up the total value and just the regular value of the peso. This is going to this technique is very foundational in further classes that I'm going to create with doing under paintings and stuff like that. And you can do that with water colors. So what? The two colors I have here in thes dishes is we got cobalt blue and raw number. And so what we're going to do is just mix a whitewash of and build up the paint as we go now. It's also a really good idea to have your watercolor board or paper or anything propped up on a little something just to create a bit of a slope that your paint runs down. You don't want to just be pooling on your page. You wanted to run down the paper So let's go ahead and load and brush. And most are getting these paints ready to go. So I'm just loaded my breast put a bit of water here, and we're just going to take a little bit of pain at a time. Speed, like we don't want to Just go lamb, lamb and blast it with a ton of paint. We want to slowly build up our medium. Right now. I'm looking for a consistency. That's roughly the consistency of Kool Aid. Just a light light wash. We don't want to go crazy right now. So this is just going to be radio into the dry paper with our first wash. So we're first going to do, Um, two blue columns were do one by itself. Here. We're just gonna do a flat wash all the way across. Now, as this brush, I don't have to load it as often. But if you have a smaller brush, you're gonna have to be loading more pigment quite often as you go. So you might want Teoh be loading a brush every single time. So I'm loading my brush now, just dabbing it, rolling it, and then I'm reaching over dragging across and then going the opposite direction. And so, with if a smaller person to hold as much water gonna load it, dragon across, load it, drag across also you. You can see here at the bottom where the water is. The pain is kind of cool, and that's as much Do you want to really touch your page? You want to just have you to keep your brush touching that little bit droplet of water that's along the bottom of that where you painted and is pulling it down. That's that's kind of the just You don't want to be scum bling. And around the time you want to let the water do it's thank because that's how you get your textures. That's the beauty waterfalls. You don't want to play around with it that much, just like that boom, our first, our first layer. So now we're gonna do a 2nd 1 same thing we're gonna build these up at the same time. So as this one's drinks, I'm gonna as first layering, you know, just go through a bunch of pigment in their one or once you're going to go and add it gradually as it drives you left one layer dry, and then you have another one. So we're gonna do a second blue here, okay? And also, when you're doing this, you don't want to go back and fix. You want to go up here like I missed a little bit right here. Don't go back and touch it cause it's gonna mess up your flat wash. Excellent. No, I'm gonna take my second drawer water here and rinse off my brush, try a little bit, and then take from the clean water and start my raw number. So going to get some water going here on the palette, Building up that color again? We're looking for something and vote the capacity of Kool Aid. This is practicing building up the colors from there. Okay, let's remember, Do these two columns with this color? Actually, that should be a little bit bigger. Perhaps a more clean water. Keep drawing from the paint to get us a little bit more of a build up. Okay, Excellent. We're gonna rinse off the brush. You see, on the first run number column that I've done. I'm getting a little bit of a buildup of paint and water down there. So what I'm gonna do is I'm just going to take my brush and just touch the water. There's a little bubble of water at the bottom there. So I'm just gonna test the tip of my brush bottom of the bubble and run it along, and it will absorb that little buildup of paint. So that will give us more of it. Even did even wash of paint across. It won't have that build up at the bottom. So I'm gonna do a bit on the 2nd 1 You can just go over it. Just touch it to the bottom of No, clean that up. Okay, so now I have this blows it quite dry yet. So I was gonna wait until that is ready to go for its second wash is what you're gonna do is then take the same Pillot pigment and build up each one of these colors. So let's I'm gonna prepare Mawr my blue can for a bit of a Kool Aid consistency, and you want to keep that like your you're eyeballing it. But you want to keep that consistency of, like, try to keep this close. It's enough to be perfect but you want to keep it close to the same opacity. Okay? We're gonna wait a moment for that to dry, and then we'll go and do our next layer. So now that the paint is dry, we're gonna go ahead and do our second layer on all these layers. So just starting from the second line, we're just gonna crawl across and do the same thing and slow do ability could see that we already have a darker color as you slowly build up these layers. Excellent. So we're gonna continue doing this until we're done. Gone down all the six combs that we have there. So I'm gonna let this dry and finish off columns and I'll catch up with two on the other side. So now I'm about to put my last layer on my blue columns, and I haven't changed the consistency of our pigment to our water. You could see how the value has built up already. So much So we're going to continue finish these ones off, and these ones you could take actually even further. You could probably do one or two more layers on each one of these to get even a darker tone . But this is without even adding more pigment. This is just the same consistency and just adding layer after layer after layer. Now, with other water clerk paper, I could not get this kind of build up. It would actually start lifting and rubbing off the water, the layer that I put down before. So this is another he's and why to invest in quality paper. Because I have now six layers of paint and it's still receiving it and building up and it's it's wonderful, and we're going to even go further than that and to have another six layers on top, one of one of these other ones. So after we finish this off, we're going to go to our second column and migraines. Do a wash over top of that of burn number and French cobalt blue on this one. So show you once you get there, do one more layer. This you have number could go away for the agency. I was dark. Number is, it could go much further, but we don't want to change. The consistent is that this is just show that you can build up value without adding more pigment to your water mixture. 8. Layering Part 2: Now, this is so very hard. We have our total value up with my layer adding layer after layer to build up our colors and our values and our colors. Now what we're gonna do is we're gonna take the opposite color on to our second column and build up the total value of this column by just adding the same translucency and adding layers down and so you can see how you can build up the total value. So this is going to be what you apply to a technique oven underpinning. And this is something I'm gonna cover in another class is that we can build up these tones and so you can have an under painting that you can just do glazes and washes over top to do to get your image and color your paintings. This is more of old masters of technique, but you can be used for water colors, so people might think that Oh, it's turning money or agreeing out. That's exactly what we want. We want to use a complementary color, an office, it here to just get a tonal value, um, kind of great out, but we don't want to use black is a why don't use great or ah, black color. Why we don't do that is because we want to keep as much color and interest and dynamic to our shadows and to our our dark spaces that it's not just using straight black. It's flat and boring. You wanna have something that has dynamic and color and texture and all this kind of things that you can get from weighing color. So in my paintings, I very rarely Onley if I have to have to do every is black. But I tried to avoid it altogether. You'd use these opposite colors to build up those mediums. So let's go, um, and grab some of our raw number and we're gonna slap it right on top. Are our cobalt blue on our second column. So right from the top, all the way back down across, we're just gonna build up the total value of this. Now, um, I know some people might be asking why I'm not mixing this before. Well, I find that when you mix your pains and then apply them to paper, you can eat. It becomes kind of flat here. What is happening is that when you use layering, you're getting a very, um, dynamic. Um, color you're seeing all the colors individually is what happens if the light goes through all these pigments, hits the white of paper and then bounces back out through. And so you're seeing the blue and you're seeing the Browns, but you're also seeing a grade out version. So it's like you get so much more out of doing it this way when you get so much more during name, even though you're getting a great but you're seeing still's having the separation of the Browns and the blues and giving him more dynamic to your colors. So let's itself are brush and do that, um, with the cool it blue on top of are raw number and why I'm doing this to because you do get layering it and different in different um differently. Having the blue on the bottom and the brown on top and vice versa is that you get different different looks and different colors and Hughes out of it. So that's why I wanted you to do it both ways so you can see the blue on top in the brown on top. Take a blue, it's gonna be similar. That's to think it's a little bit wire here. So it's gonna even though it's gonna be a similar color, it will still be different. Having different leaders go different ways again. This is all techniques that you use and and further in classes for the buses, all very foundational for all these types of things. And look, And this is something else that we're gonna cover is that you get these beautiful, beautiful textures. I don't even see it in the video right down here in the bottom. I am falling in love with this. You got the blues and browns is just the way that the color just can separate and show a little bit more or a little bit less. You're getting so much more out of it than just mixing or browns and blues together. Just get such a flat looking color when this gives you so much more dynamics and it's just gorgeous. So I'm going to go ahead and build up these colors and, uh, slowly, yeah, so go through the layers and I'll meet you at the end. Once we've done the same thing. We are not increasing any of the pigments, but just building up the layers one on top of another and be very gentle. When you go, this is not you. Don't stumble it or rub your paper, just drawing the pain water across the paper. We want to do one more. Some of you might be wondering what this little bit here, since I think I dripped a clean drop of water there and it pushed it that way. It's all fine. This is just all for practice. So we're gonna go for our raw number again and again. We want to be super gentle. You're not rubbing and going back or anything. You want to be super super gym because you have to think that you're mawr, like laying these colors on top. You don't wanna be pressing against your paper. You just want lightly touch the water, let the top water reach out and touch the page from your brush, being super gentle, just slowly building up these tonal values. So now we're at the final wash of each one of these columns, and we have come up with some of the most beautiful graze. We've come up with a really warm grain and cool. Great Here from bees colors. I am absolutely in love with these air. Absolutely gorgeous. So we're gonna finish off our last wash, these brushes coming on these washes here. So grab our last raw number. Your final wash. - How about blue? There you have it. So we've now peace ones. We have 12 layers of paint, 12 layers. That's crazy. But this paper can hold it and the pigment staying, and it's not lifting up. It's a very, very beautiful thing. So this is something that I would not be able to achieve with a cheaper paper. I'm pigments just to be able to develop 12 layers of paint, and we've now come up with these beautiful hues of grain built up these values that we can use in under paintings and many other things. So here's our layer project, and now we'll move on to our next one 9. Washs: So now we will cover washes. So the first wash we're going to do is a basic flat wash. So it's just a wet on dry flat wash. So we loaded brush with the more heavily loaded water right now. So it's like more consistency of, like, hot chocolate or something. And Lord or brush, start from the top. Just drake fresh along. Always continue loading after every stroke, much you can. If your brush like this one holds more pigment. You get away with doing a few more strokes before your have to load your brush again. But you always want that little puddle that you at the end of your stroke, give a nice even wash away. Across. The next toss we're going to do is a wet on wet. So we're going to load her brush with just clean water and do a layer of water in this next session section. Here, give a nice layer two entire paper. And by the way, what I'm using here is French ultra Marine. So in a load of hush again with French multiple Marine, we're just gonna do a wash. We don't touch that. We went on way and love this, these washes that are on top of each other's, even if it's clear Washington some beautiful, beautiful textures as you go along. I love this through this one will have to clean up at the bottom like there's quite a quick grouping of water here. So clean that up and then next wash that we'll do is a greedy, um, wash. And this time it will take from the burnt sienna. And so the first, but that you get on the grating wash, you load your brush and do a stroke across maybe one more. And then, from there you always dip from clean water, and you never take from the well of paints again. This would really mess it up your clean water because you always have to take clean water. Krul's I'm just giving a dip in a wipe. Slowly dilute my paint Wipe way. Don't wait, but our wires pretty me. Okay, political backing clean up our what a wet wash and this next wash that we're going to do. I really, really love. So to told wash. So we're first going to go with our French ultramarine, load it up and just do a basic flat wash with French ultra Marine. More pigment here do flat wash, but that's what you really want. Load up, get up. Try to get these washes done quickly as possible. You want to stay wet, so even though I'm loading, my brush is it's time when it goes quickly as you can because you want them. Rinse your brush off and jump over to the sienna, and you're gonna do a wash flat wash rate from the top right over top of it in. This method is so cool because you get some amazing textures from this type of wash because the colors don't quite blend together are mixed together. And so you get these really cool textures and different variances from the different colors that are in there. So it's one of my favorite afraid if we remarks is to dio so clean up brush clean this up. Beautiful. I love us so you can see here. Even in the the wet on wet, you got so much more texture, so much more death to this color than just a flat, wet on wet Great. It's always beautiful. And then this one with a two tone wash where you get Elise different colors, slightly mixing, not mixing, and it's it's just lovely. This is your basic washes that you'll do on any type of painting, so that, like stuff like this, is very cool, because you I've seen a whole painting where it was just some simple lawn chairs, and they did this type of wash in the shadows. And the whole highlight of the whole focus of the whole picture is the shadows and this amazing texture that they got in the shadows of this painting. So this is a washing your definite when he'd be using gaining these textures in this. Yeah, but you can easily cheat without with any other medium. So this is such a beautiful things. There's your basic washes. 10. Glazing: So now we're gonna cover glazing. So I have my primary colors here. Done a flat washing with three of them. I know. Now I'm gonna take, um them individually and lay them over just partial part of each one of these clothes from Take this French Oakar. I know. Paint section over top of the red and the blue. Get thicker. Here, do your French. Okay. It takes Oops. Yeah, glazing going about glazing this way allows again the colors too. The light to go through the colors and then come back out. And this gives mawr dynamic again to your colors where you just get a flat one tone color But now you're seeing, like, go through yells, build Lamoriello's a bit more blues you're getting and more dynamic color We're gonna take this French much Marina will do the same over top of the red to get our secondary colors - back to Scarlett. - Mary have it so looking at these colors a little bit closely, a little bit closer. This is the time of the dynamic that I want to get. Like you're getting textures down here. You're getting mawr yellow more than blue here. All these kind of variances is giving dynamics and more life to your colors and just doing one flat wash of one color. So this is the basis of blazing. We have a color you just glaze over top. These techniques is it's valuable in so many ways where you can do a very, very light wash over the whole thing. To gain unified feel to the whole paintings was not just in gaining your secondary colors, but if you find that your painting is fine feeling a little disconnected, you do a very, very faint light wash over the whole picture to gain these two unifying and Gaynier you need to your painting. 11. Conclusion: so they haven't. We finished the class and I hope you learned something. Be sure to upload you created to project Gallery on help you see you back here for future classes. Thanks again.