Contrasts in Watercolor: Painting Complex Sunset Skies

1. About the class: Hi everyone. I'm Maria, a watercolor artist and instructor. Welcome to the class in which I will reveal the secrets of combining different watercolor techniques to depict the vibrant Hughes delicate gradations and magic glow of golden hours, guys. I love painting sunsets, and I have done it so many times. Of course, their colors, shape of clouds and composition can vary, but the principles of creating the effect of a warm sunlight remained the same. We'll talk about them in this lesson. The tutorial will see you too, if you're already familiar with watercolor techniques and painting skies, I see it as a follow-up to my previous class. The basic of painting realistic sky escapes. That's why I want to explain the fundamentals here. Instead, step-by-step, you will discover what types of contrast serve to depict light, how opec things helped to create atmosphere, and what techniques are useful for making soft color transitions and painting glowing sun beams. In the future, you will be able to apply these principles to create your own sunset landscapes during the class and enjoy watercolors 2. Materials overview: Hello everyone and welcome to the class. Here you can see the list of the materials I'm going to use in this tutorial. Of course, this is only a set that I'm going to use. And you can take your favorite colors and replace brushes or even paper with your favorite ones. Also, I propose you to take a quiet small format of the paper. Here you also see the colors that I prepared for the class. And to be honest, I think that I'm going to use them all. And the idea is to try both opaque and transparent colors. But actually of course you can use more reduced palette if you want. Next, in the explanation and exercise section, you will see how we can use this contrast between transparent and opaque colors for painting skies and especially sunsets, guys. But if you don't have all the colors like Naples, yellow for example, you can try to do the same picture using only transplant colors, and I'm sure that it will work as well. My brushes set for today first, there is the big flat brush for moistening the paper. You will see how we'll use it. Big round synthetic brush. There is often a nice one. You can replace it with squirrel brush or squirrel imitation. It will work as well. Next, there are two synthetic small brushes. I'm going to use them for painting details, clouds, and actually for better water and pigment control. And in the end, I will also show you how I use this type of brushes some time for some special tricks. The paper today is Arches 300 g and it's called pressed. I'm going to paint on a textured side. You can take of course, whatever brand you prefer, but really makes sure that you're using cotton paper because this can be essential for this type of technique that I propose you today. Also, it's very important having something like plastic or any other waterproof board. The idea is that it doesn't absorb any water. And of course, feel free to change the format. You can make it more square, you can make it even vertical if you prefer. And let's go to the exercises 3. Let's talk about contrsats: Here in this tutorial, I'm going to show you how to paint this picture, but be ready that in your case, picture may vary. It can be different in cloud shapes, in the foreground, even in the background. So maybe you will even choose to paint it on wet. Really be ready to create your own picture following my instructions. But the main principles of creating the light and different contrast will stay the same. For this purpose, I distinguish several types of contrasts. First, that we also discussed already in my previous basic sky course is a contrast between light and dark, or tunnel or value contrast. It actually describes the difference between the brightest and darkest values or tones in the image that you create. And managing this type of contrast helps us to create the space to create a volume. So this is something that we saw in a previous class that how by changing the color value of clouds, we can create the depth, distance, and also the volume, the, the 3D effect of the clouds. And we're going to use the same principle of creating shape in this picture as well. So you see, really it creates different plans. It creates shapes. Next, what I'd like to explain that what is interesting in such sunset pictures, it is the light, of course. And of course, this search of a tonal contrast works to emphasize this light effect. So in this picture we can see the light source and it will be the wisest part of our painting. In watercolor. The wisest thing that we may have is the white of the paper. So the sun will be uncovered since the very beginning, until the end. And never mind the technique you're going to use if you paint painted on, on wet, same, you are going to reserve this area from any color. Next, the further we go from this light source, the darker everything will become. It can be the background sky, like sort of a gradient. Or even in our landscape, we see the same from light to dark. And of course, the more clearly we see this effect in the clouds. So for example, if you take a black and white version of the photograph, you will see the same gradient. So if we only take this one approach was light and dark, we already, we'll create this light effect so it can be enough itself. So what's important here is that independent of the color, that's your choice for painting clouds, the tone of it will change. The second type of contrasts that will help us to create this light effect is warm called contrast. What do you need to notice here is that next to the light source, next to the Sun, it's not only lighter, but also warmer as a color. What it means if we take the classic color wheel, colors on the right, we consider as warm colors and colors. On the left, we take for cold ones. Here next to the sun, everything is warmer. And the further we move on from the sun decoder, everything becomes somewhere in the shadow. We can even seen some like almost clean blue dots, spots, and those axons, they create additional color contrast here. Why it works like that? Because actually blue and orange colors, they are the opposite colors, complimentary colors, and such colors they create the strongest color contrast. It will work the same for green and red, for example, or yellow and violet. So here we will have this sort of effects. Of course it doesn't work for 100% of cases. Sometimes you will have some red spots here in the clouds. It can be really different. You really need to look carefully at your reference. And like this, you choose what exactly you like about it and what you want to pick up and transfer to your painting. And the last contrast that I wanted to talk about is the contrast between transparent and opaque colors. What do I mean? Saying that? You probably already know that on watercolors you can find the indicator if the color is transparent, semitransparent or 0 back, even though in general we consider watercolor is a transparent color, comparing to acrylics or oils, where I use such characteristics of the color is when, for example, I want to create something with the light color, but bringing some tonal contrast into it. It can be quite tricky because, you know, that's that light colors like yellow, for example, can't go too far with the tone because they are light colors. Here I will show you an example of how we can play with this opacity of color. For example, here you see it's the same color. It's clean and transparent, yellow. Even if I take it very dense and thick, it still will be very light. I won't have this impression of the shadow. Of course, I can add something like orange into it, but it still will be either transparent or if I will take more pigment, it will give darker color, which is not the purpose here. Here you see, for example, Naples yellow, which is opaque color. And this color you see allows us to have a stronger tonal contrast. And I tried the same exercise with another Naples yellow, which was the Naples yellow by White Nights. And we can make it even more complex by doing the transparent background for the sky with a transplant color and add this opaque color over it. So knowing this, you can choose either you work with clean transparent colors or you can take opaque colors, or you can make a combination of both. Like this. We will have these small clouds colored, so they will be yellow, but still very light and transparent. You see here those clouds are not white, even though they seem very light. I only have the sun being white and just some highlights next to it. And everything that is above is this technique. So we have a transparent background and we have opposite color over it, which means that it covers the paper and the light can pass through it. So it only reflects from the places where we have the transplant colors. So this is what creates this light effects. And the one more contrast that I wanted to mention here is the contrast between such sharpened details and soft shapes that we have such edges we are going to create on dry paper surface. And this will be quite special technique. You'll see in step-by-step section how, how to do it if it's already seems to you that the technique is too difficult. So please watch the video from the very beginning to vans to understand it well. And then just try to do it by yourself. I always recommend to watch the video first and then to paint, because I personally think that painting alone extremely hard. And those of you who do this, you are my heroes. And of course I remind you that you can skip this type of the contrast and do everything on wet surface, which also will work. I feel that it will be a little easier. So you see this type of a contrast here creates the additional focus on our point of interest, which is the sun 4. Mixing opaque paints: In this short video, I'm going to give you a few additional commentaries about transparent and opaque colors. Here's an example. You see different values that we may get by using Naples yellow by White Nights. And you can see here that if I take it quite thick and dance, it may give quiet dark color. Let's compare it with Oreo name color. I'm also taking it very dense, fresh from the tube. But you see that comparing to this Naples yellow, it's still seem quiet light. So if I tried to make clouds with this color, it would be less effective. We've already discussed that yellow color is still quiet light color. So to make it darker, we generally need to mix it with something. And when we talk about something dark, the first thing that may come to our mind is like black color. Yeah, I don't think it's very obvious for this guy, but let's see what we can get. And you see that even if I take something like complex Payne's gray color, it may actually give something greenish while we mix with yellow color. And the same thing for black colors is actually black pigment also may give green when you mix it with yellow. And finally, black pigments also quite often tend to graduate. So really be careful if you think about adding black to your future clouds. Color mix. Next, of course, we could try and add something pink or red, but it also can be quite tricky. Let's see. Here I'm taking this Naples yellow color and adding a drop of pink. And you see that the color has changed, but it hasn't become darker. So to create a darker mix was the same thing. Color. What we should do, we should really take very dense color as a base. I think I've also explained it in the previous class. And then into these base, I add pink car. Here. Hopefully you can see the difference. And you see that this result color is much darker than the previous one. Also bear in mind that sometimes some unexpected color mixes can look quite nice. For example, some level yellows can give a nice mixture with violet color. Not each one is mixed with yellow will give you something beautiful, but sell it worth it to try. And what is nice about such mixtures that you can really vary the tint of such colors by adding different amounts of pigment. For example, now I'm adding more violet into the mix, but then you can add, for example, blue and also more violet. The color may become colder and where we needed. This can give us a nice shadow color, for example. So once again, we can make our color darker by adding more pigment. First of all, notice that in most of the cases, opaque color will seem darker than transplant one for light colors. Adding darker color does not guarantee you that's the mixture color will be darker. So to make it darker, you first of all need to create this dance base of your base color. And here I also added little dots of the color that I mixed with my yellow. Just not to forget. And I also recommend you to do the same, to keep nice color formulas for the future 5. Cold - Warm transition: The last thing I recommended you before you will begin is to try your colors altogether and also to test what they may give when you will change from light to dark, from warm to cold. And for this, I propose you to do a simple gradient and I'm starting with just yellow transparent or Aeolian color. Next I'm adding Naples yellow to it to darken the color. Then this Naples yellow for future clouds or something, I'm starting adding something orange or red. This makes the color darker. And then I'm going to add more and more red into this mix, which will make the color also called her. It may be useful here, for example. You see I'm always using the same mix on my palette, but I'm slightly moving from light to dark, from warmer to call their color. So there's no need to wash the brush between all these manipulations, okay? And you see I still have quite a lot of pigment all the time. Then I begin adding blue indenter and blue. In my case. You see once again I just add the color to my previous mix with the same brush. Here, I'm just adding more and more blue for colder and darker mix. You see, once we have this contrast between light and dark and warm and cold, we have this feeling of the light, even in this color gradient. This very schematically shows us the logic of our future work. So once again, speaking about transplant colors, don't forget that just adding some blue into the mix not necessarily means that the color will become darker. If I take it a little bit more liquid, it gives me this as a result. And of course I can continue doing this job with such diluted colors and it also may work. You see I'm going through ping them to Naples yellow. So you see that the color changes from cold to warm. But you see that this contrast only doesn't give us a really light effects. So we really need to create also a tonal contrast. Just makes sure that you add enough of the pigment to the blend to create nice light, dark contrast. And that's it for colors and contrast explanations. Let's dive into painting 6. Preparing paper: As promised today I'm going to show you an interesting technique. I consider it mostly like for intermediate watercolor is. But even if you're a beginner, maybe you could try it. And if you like it, you can keep developing your technique in this way. This technique allows working on wet longer than traditional technique. To begin, I moisten the backside of the paper with some clean water and big flat brush. This preparation stage will take some time, but please don't skip this part. Really prepare your paper. Well, the better you prepare the paper, the more comfortable it will be while you will be working. I just put some water to make the paper surface glistening. And now I'm going to wait a little bit. Use this time, for example, to prepare my ballot or to find some scrap paper for color tests. Let's put it here. I also prepared some paper towels, but you may use cotton tissue or whatever you prefer. They're not always will be seen, but just notice that I always have them somewhere in my hand. We can prepare some color right away. Let's begin with bright transparent yellow. I'm going to use it for the first layer. Next, let's take some Naples Yellow by Rembrandt. I will need quite a lot of it. So let's put enough. And also White Nights, Naples yellow tube and the rest I already have on my palate. So Alizarin, crimson here, royal blue, Payne's gray, and inventory in blue. Hope you can see it. I'm going to use this polarizer for moistening my palette and maybe add some water like this. All the colors will be soft and prepared for working, especially if may be important if you work with colors in bands. Also, I always have a extra cup of water in case I will need some fresh clean water. I noticed that the paper's getting a little drier on the borders on the edges of my paper. So I'm slightly more moistening them the same manner I did before. I just make my paper glistening and that's it. It should be even the glistening. Notice that I didn't make any pencil drawing here because I'm not going to do it. I'm going to paint right away with my brushes. But if you're going to use this technique for more complex picture that demands bad pencil drawing. Make the pencil drawing before you will start moistening the paper. But if you feel that it will help you to make this picture better, of course, feel free to prepare some pencil lines. Now I'm going to wait a little bit more. I see now that the papers started to bend a little bit, goes wavy and I need to wait until the moment when paper absorbs the water. And it will become, you will see it will become flat and a heavy. At the moment, I'm showing you a technique. One, we only moisten the backside of the paper and the face side will stay dry. But of course you can do it in more traditional wet on wet technique like kinda between traditional and this one that I posed to you when you moisten both sides of the paper so your paper will be completely wet. In that case, it will be just a little bit different visual results and I feel this technique easier. So in this lesson, I will show you more advanced one. So here we're going to do this sort of the technique when we have some sharpen edges near the sun and more soft lines and forums in the rest of the picture. And this also will give some additional contrast between sharpening just in soft shapes. So it will help us to get even more focused on the point of interest on, on our app, Our son area. And as I said before, it doesn't have to be done with this technique exactly. You can make it simply on wet and you will have this sort of result. And you see that it also looks beautiful and maybe you prefer this way, feel free to try it. But this second option I feel like more easy one, but I really want to show you a more complicated approach. But if you want to make it in this wet-on-wet technique, you actually shouldn't wait this long with this backside of the paper. You just turn your paper and make your face of the paper also wet right away and you don't need to wait. In my case, the face side will stay dry. So I'm really spending my time moistening the backside of the paper. And if everything was done, well, I will see that it will stuck to my board in all the corners, on all the surface will be nicely glued to the surface of the bird. You see there are no bubbles, no way. So the paper looks really flat and prepared for painting. If you see that it's not wet enough, you can re moisten it. You just take your brush and add some water but don't add too much. So once again, the paper is wet on the backside. I really gave it some time to absorb this liquid and the vapor surface is dry. You can even hear it that it's dry. And now we're ready to begin 7. Sky : Lights: Alright, let's begin painting. The paper is ready. And I begin by planning where the sun going to be. I think it will be here. And I will begin with transparent yellow color. They relied liquid and transparent. I remind you that it's better to check your balance before painting, to check how the colors mix with each other. And let's begin. I will do it with such quite large brush. And the sun is going to be here. Not too big, not too small. So why do we need all this story with moistening the paper from the backside? Because thanks to eat all my watercolor spots doing now, they will stay wet longer. So you see now this yellow area is wet and it will stay glistening for a long time. So I can do many things inside in wet technique, I put my brush to its sides and paint this way to create some texture defects. And there will be a cloud contour. Some parts of width will become softer and future. But so far I keep it texture this way. Now amazing, little bit more pigment to it. And this is the sky that we see through clouds in the upper part. This yellow light that we see. And I'm adding a little bit more to the upper part. Can almost right away I switched to the Naples yellow. It's very dense and opaque. It soft and fresh from the tube as the paper is wet. So you will see soft contrast of these spots. The color is moving. So notice that your brush shouldn't be too wet. The goal is to have really thick and dense color. And you can even take smaller brush for that. The further from the light, we will have colder and darker color. Remember. And closer to the sun, it will be lighter and warmer and in our case, also more transparent. I also could leave those clouds are white. Why not? But in that case, that would be like the same white and light as the sun. And in my opinion, it can break the sunlight's effect from the sun because only the sun disc should be really wise in our painting, It's the only light source there. You see even in the photograph, it is. What we will keep. Why though, is some highlights on clouds right next to the sun. To really to highlight, to emphasize this effect. At the moment, maybe picture doesn't seem very clear for you, but now we will add more and more color and you will see how it will transform. So now I'm going to add a little bit more contrast to the sky part. And I'm taking the second type of mine, Naples yellow, which is a little bit more orange, you can simply add some orange into your Naples, yellow that you have or some pink or red, it's really your choice. So I keep light clouds slides, and I'm adding a little bit of contrast in-between to highlight them even more. You see we don't really change the color very drastically. And we still work with yellow colors. And as we take now, opaque colors, it really creates this effect of light and dark contrast, even though we still working with yellow cars, very light ones, because the light doesn't go through these opaque layers. So we have this effect of the light from the transplant ones. And if you want, you can even change the tint a little bit so you can add more orange or pink as you reach. And let's add a little bit more shadow to this corner. I switch the brush to work this small area around the sun. Because here I'm going to paint a cloud. So I'm making this area a little bit softer. And once again, I really recommend you to watch the entire video first, to understand the entire process, and only then start painting because it's really hard to paint along, especially with this technique. Let's add a little bit of alizarin here to make this corner just a little bit darker. But it's not only being, I really mix it first with this Naples yellow that I have on my palette. So it brings a little bit more contrast. And it's already time to move to the bottom part 8. Clouds: Now it's time to move to the bottom part. And before starting it, check that the backside of the paper's still moisten. If you see that it's drying, you can bring a little bit of water to it and really try to avoid excess water there. In this part, I rather bland having soft clouds, which means of course, on wet. If you still have any questions about basic techniques like wet on wet, wet on dry, dry and wet, etc. Please watch my sky course where I explained all the basics. So if what I'm showing you right now seems too complicated, maybe you have a lack of some basic knowledge so you can really learn them there. So here in this part it will be more soft and more sharpen and contrasted and next to the Sun. So I'm mixing the Naples yellow with alizarin. Now, we can even add some yellow or cadmium orange to make it more vibrant here below the sun. Because there's very nice highlights there. Announces that the bottom part is generally much darker than the upper one. And I cover everything here. If you're working on wet, you will have all this color. Just a nicely spreading everywhere. So maybe you will need a little bit more of a control, but still it will work. Here. There will be my future clouds. So I actually can cover this spot. Now I'm switching to a darker colors. So Naples, yellow plus more of the iser and crimson and start to paint my future clouds. This will be their lightest part. The central part will be more logical to do with smaller brush. So let's do it. Cadmium orange with some pink red. You see the paper surface Here's dry, so it creates some texture defects. And don't hesitate to make colors more like saturated and vibrant here, because once the color is dry, it will be much paler than you see it now, It's normal for watercolor in general. But in this technique you can see this effect even more. Of course, depending on the palette that you chose, it can be more or less vibrant. But normally in this place we will have quiet, quite saturated colors next to, next to the sun. And remember, I wanted to paint this cloud here. I'm doing it while this part is still wet. Now, I'm switching to more red and we continue with the cloud. And this red mixed with Naples yellow. It will give the base for the clouds because I want to have some pinky highlights going through the clouds shadows. You see I leave this contour whites for the highlights effects. So you see in the upper part I work more with like circular movement of my brush and more flat in the bottom The backgrounds and the buttons still wet, still glistening so it's okay, can keep working with McLeod's. But still I need to make it quick way. And of course I'm also going to add some blue to the mix and very soon just will check the sun shape first. Going back to the larger brush, because I will need quite a lot of color again. So let's put some more Naples, yellow. And we'll do this part a little bit more. Pink, pink, red as you wish. And I will keep some yellow, orange highlights below the sun and the bottom part will be darker. And what is good at this moment, I also like remote learning this part of the paper. So it will keep the paper wet longer, anterior in the upper part, I'm not touching anymore because it will get drivers. For this part. You can even take flat brush, for example, it will be very handy even on such small format, I feel like the price could be even bigger. Now, let's add some blue to get color T. And remember we discussed that further from the sun, the colder it's the color everything will become. So for clouds it works as well. And also it should be darker, which means more pigments in the blend. Too blue or too violet. I always can neutralize it with something orange and yellow. Remember it's the opposite. It's complimentary color from the color circle, so it will neutralize this Colton's. But of course we already have some orange and red and yellow on our paintings, so it will be mixing any way, please, very, very light brush movements. I'm barely touching the surface. And you see, for example here I begin from the right part was blue and then I have less and less color while I'm moving to the sun and it's organically became warmer. Once again, I start here with blue and then I moved to the Sun, covering now all the whites, a little spots that I had here. Now when I have big shapes, I can also add some details. I'm always watching my photo reference to find some details that I like and to reproduce them in the painting. Here in the clouds, paper's still wet, but in the upper part it's already like kind of try as well as in this area. So I'm not going to touch it anymore. So you see I begin with larger objects and shapes and then go into details. Amazingly, even darker blue, you see how the color looks like. Very thick and dance and quiet, dry, but there is some liquid on the paper. So this is why it looks soft in the painting. I think it's okay for clouds. Let's go to the next part. 9. Sunbeams: Now I want to bring some additional light effects in this bottom part. First of all, there is a shadow here. So I will take this shadow color, but we'll, we'll take it a little bit more transparent than it was before. So washing my brush for that. You see the color is liquid and transparent, but I don't take a lot to the brush. And with such movement, I'm adding some direction lines for the future sunbeams. The paper and the bottom is not dry yet, so I still can do it just carefully follow the direction to the sun. I remind you that the brush is quite dry because the paper is slightly getting dry. Here in this central bright, it's almost dry. So unfortunately I can't touch it because it may create some unwanted effects. And now what's interesting, I'm painting this standing because I feel more comfortable like this. I'm trying to bring a little bit more contrast now. But we really need to keep an eye on our paper drying. And if you like me, see that it's almost dry, you really need to stop even if you're not really happy about this intermediate results, it's really better to leave it and keep it like that here in the clouds. It's already also quite dry, so I don't really want to touch it. Maybe just a few little shadows here and there. And by the way, now I'm going to show you one tip for this stage of the work. Here. I'm going to paint store the landscape. Remember we saw this brush and now it's completely dry. And we see that sometimes in some places our color can be, could be more evenly pulled to have more soft transitions. And with such brush with a very, very light touch as we can, we can actually move the pigment on the paper surface to create softer transitions. But just make sure in the process that your brush keeps trying and clean. And of course, it's only possible to do while the paper is still wet at least a little bit. And once again, the idea is just to move the pigment on the paper surface a little bit. It may work for many different parts of the painting, but the only thing that just don't keep it as a main tool, it's really just for some adjustments in the end of the process. I can say that I have a lot of such places where I would like to correct something, but I thought that it might be nice to show you that this technique exists. Important that of course, at the moment, you will get dirty brush and you will have a risk to move the pigments to match and to create some spots. So be careful is that I'm pretty happy about this intermediate stage. So now I'll need to wait maybe until this, this part is a little bit dry or, or maybe not. Actually, it's the point where we need to decide in which technique we're going to paint our landscape. It can be either like soft hills on wet or maybe something like this on dry. So you see it has sharpen edges. So of course for that, we need to wait until the paper is dry. I think I'm not going to wait too long. So I will paint. I will try to pay the landscape right away. It still shining a little bit in these areas. And in these places, it's already super dry. So you decide at this stage for yourself which technique you prefer. If you're adopting, if you can manage it on wet, on dry paper, maybe it makes sense to dry the paper first and then to do everything on dry 10. Landscape: So I decided not to wait until my paper becomes completely dry. The paper here in the bottom part is slightly shining. Listening here, here, and a little bit here. And in these areas is dry. So you have two options. Either you wait until this paper is dry or you dry it with a hairdryer and make your landscape with sharpen edges on dry. Or you can try the way I'm doing it, but be ready that it will be different because the paper stage in my case, in yours will be of course different. I will begin painting hills there in the background with a quiet dry brush because the paper is almost dry. And I don't want a liquid and pigment to be spread too much for the area under the sun. I take this light and warm color. Here. I'm going to make it a little bit even more complicated and trying to follow the sun beams direction. So I'm covering with slightly darker color. The space between the Soundbeam is also here it works as well. This principle that we discussed before, that the further from the sun source, the light source, the color will become colder and a little bit darker. So here it's the same. So I take it a little bit more violet here. And for this part I also can take some royal blue. For example, you will see I'm going to make it really called color comparing to the rest of the picture. Of course, here it will be called and quiet. Well, not that dark but quite called. Heal in this shallow part. Now you may be thinking, Oh my God, she covered all the sunbeams. They were so beautiful. But well, yes, because I think that the space is too large and I really want to paint the landscape here. But if you really like your bottom part with just like with some beams as they are, we just can keep them. And really like don't lose the best part of your picture if you prefer it. So really work depending on what you have on the paper. Honestly, I didn't plan to make it this complicated, but it is what it is. And here let's take some. So let's take here yellow, orange, like warmer color for the sunbeam part here in the foregrounds. And let's make it maybe more simple. So let's take right away quite dark color and mixing Payne's gray and the rest of everything I have on my palette. And I will outline the foreground of my landscape. My problem here is that the paper's getting dry and if it becomes quite complicated, so I really need to work in very delicate way to keep everything like soft and proper. Notice that we can just take away the color in the places where the sun beams are because they are not white. So we really need to construct, to paint them by making the shadows around them. This is what makes it quiets. Quite complex here. You see when I painted this part of the landscape, I really tried to follow those. The sun, sun rays going here. If you feel that it's too much for you, just don't do that. Just make some nice gradients in the bottom part and then paint the landscape without any sunbeams. It also will be beautiful and full of light if you just keep the rule of contrast that we discussed before. And once again, the brush here at these stages really dry. I don't have, I almost don't have liquid in it. And let's make this very nice dark shadow. I mentioned rocks here or something like that. But for you it can be trees or bushes or just the field or another heal. So really do whatever you prefer actually, or you can even try to find a photo reference for that. And you see if I decided to make this sun area very defined with sharpened edges, I really tried to make the foreground softer to keep this contrast, to keep the point of interests on the Sun. So I tried to really to make his own wet, which gives me the soft edges of those parts of the landscape. And adding more blue in denser and blue this time to, to make it darker and colder to keep this contrast going. It gives a nice contrast with this orange and yellow color in the sky. You also can use this brush to soften a little bit this bottom part, and we have just a couple of details left to add 11. Final touches and conclusion: There's a thing in the landscape that I kinda don't like is that you see the hills, they are kind of repetitive. So I'll try to, well, to do something minutes. I will just change the shape a little bit. Here. We can paint wrongs or, or even some bushes or trees if you want. Let's make it even darker here. Why not? I've added Payne's gray for that. Notice that I changed the direction of my brush strokes. Let's move it a little bit. But just pay attention that you don't bring some pigment into the light part with this brush because it may stay on the brush. I really like this bluish spots in the shadow and the landscape in general here and notice the little white spot, but I'm not going to try to cover it because now it's 28. Here. It's not very perfect. Let's think what to do with it. Because here you see it was wet and in this parts it was almost dry. So I'm taking another fluffy brush and gently moving the pigment at the edge of the spots. The idea is just to move it a little bit. It can be very handy using this kind of trig, but really, I always keep it as a secondary option because it's really hard to plan such work. So really try to do your best painting and just keep in mind that you have this kind of option as well and never use it as a main technique. This is what I'm trying to say. Alright, I think we can stop here because paper is almost dry in many places and I like how contrast works. So we've got this effect that our sun is lighter than light clouds in the upper part, the last thing to do is to dry the painting. And I normally recommend when you work with such technique is to fix the paper, for example, with the masking tape or using paperclips depending on the size of your art board. But I myself for such small size of painting, just do nothing and just put them next into the carton folder or something like that. To flatten it. Of course, colors will lose in vibrance and in tone as well. So think about making all the colors darker and more saturated in the beginning, especially when you work with transplant color because opaque color wheel take on the paper surface so we'll keep the color better and the transplant sometimes goes into, into the paper. So this is it. I hope you enjoyed the class and that you have found some new tips and tricks for your Skype paintings. I really like this technique and I hope that you will use it as well for many different types of Skies. Don't forget to share your paintings in the project section. And also, if you share on Instagram, don't forget to tag me so I could see and leave you a comment. Thank you for joining the class and see you in the next one. Bye bye.