Illuminating Watercolors: Techniques for Painting Natural and Artificial Light

1. Welcome to the Class!: Hello, I am Zleha as a watercolor artist and instructor. I had pleasure of teaching and having workshops around different countries and connecting with Steden both in person and online. For me, light is the key bringing a watercolor painting to life, and it is the element that defines shapes, atmosphere, and emotion in my artworks. And light can transform an ordinary scene into something extraordinary, and mastering this skill will adapt and dimension to your artworks. Over the years, I've been using watercolor to explore the interaction of light and scene and natural transparency of this medium offers incredible opportunities to capture subtle effects of light. Through countless experiments, I developed the techniques that allow me to make light a powerful presence in every artwork, and these techniques will be your key to eliminate your artworks, too. We will start with the materials needed to paint the light, and then we will examine the nature of sunlight and artificial light, tons and intensity of color, and dificien of light and how it affects surrounding objects. Will explore three essential techniques for capturing the diffusion of light and achieving smooth colored transitions. These are flat wash, wet on wet and dry on wet, and these techniques will empower us to effortlessly depict light as suppress from the source and illuminate the scene. Next, we will master three techniques to reflect the change in light around objects. Will understand how to use water and a damp brush to achieve soft edge and how to create sunrise using the lifting technique. And we will learn water dripping, paint splittering, and salt techniques to create rich texture for greenery in our sun filled landscape paintings. After gaining a solid understanding of the techniques and nature of light, we will apply our knowledge through two wonderful paintings. We will understand how to reflect sunlight, learn how to build perspective by creating tonal differences, and create that by emphasizing the contrast between the light and shadow. Moreover, we will examine the differences between the natural and artificial light and the effect of artificial light on the man made things such as buildings, lamps, and streets. By the end of this class, you will be able to skillfully depict both natural and artificial light, transforming ordinary scenes into vibrant, light filled compositions that showcase the magic of watercolor. Let's get started. 2. Class Orientation: Welcome, and thank you for joining this class. I am heavy heavy here. Today we are diving into one of the most fascinating aspects of watercolor painting the Art of capturing light. Light can transform an ordinary skin into something extraordinary, and mastering this skill will adapt and dimension to your works. And your project for this class is to create a painting that captures light, whether is sunlight streaming through the trees, the glow of a candle or slights. I encourage you to practice and share your exercise of color transition, softening edge and textures for greenery. This will help reinforce what you have learned and give you more confidence in capturing light effectively. In your projects, and I will be looking at how effectively you capture light source and its effects on your subjects. As well as how you use the techniques to depict highlights, sun rays, and reflections based on the light source. I can wait to see how you bring light into your paintings, and I will be offering detailed feedback on each piece you share to help you grow and refine your skills. I will also adding the ices, reference photos, example of the techniques we will be using to the project section of the class, so you can refer back to them anytime. Now, let's talk materials. You will need watercolor paper, preferably 100% cotton. As colors we will use lemon yellow, hands low, orange, cobalt, blue, pins gray, viridian, sepia, sub green, Rosenabr Sienna, and Asen crimson. Feel free to use similar colors from your palette. As for brushes, we will be using one big mop brush, one natural breezes round brush, one scenting round brush, one flat brush, and you will also need a cup of water, napkins, spray bottle, a pencil and eraser. I am confident that by the end of this class, you will have a deeper understanding of how to harness the power of light in watercolor. So gather your materials, open your mind to the possibilities, and let's get started on this luminous journey. 3. Understanding the Light: We need to good light in order to create a good painting, and good lighting isn't just about the intensity of the lighting, but about its direction and effect on the elements of the artworks. A good composition depends on how the light enhance each of these elements and how that affects the way we perceive them. The illusion of light in art can be created many different ways. For instance, in watercolor, the illusion of light isn't created by the addition of pigment, but by the blankness of the paper. When we examine the sun and the lights emitted from it, we see that the colors change gradually. In the brightest part of the sun, none of the tunnel volues should contrast too much with each other. The brightest part of the sun is its center. This part should be as light color as possible. We can use the white of the paper for this. The yellow color closer to the center of the sun should be a brighter and more natural shade of yellow. As you move away from the sun, the tone of yellow should be warmer and the color more intense. So how does the sun affect the objects around it? Sunlight change the color and appearance of the objects. First, let's talk about the color. For example, in our first painting, where sunlight filter through the trees, the trees closer to the sun will be warmer and lighter in color. Trees away from the sun have darker and color tones, so we can capture atmospheric depth in our painting. Secondly, sunlight change the appearance of objects. Trees closer to the sun appear bollar and have softer edge. There are some special watercolor techniques to create these effects, and we will learn this in the following lessons. 4. Color Transıtıon for Light: This lesson, we will learn how to paint without brush marks and how to make smooth colored transitions. I will show you three different techniques and these techniques are very important to us because we can use these techniques when painting the sky, trees, light or ground. Now let's move on to techniques. And the first technique is wet on dry. For this, the paper should be completely dry, and we will take lots of water to our palette. As a color, I choose light green, but it doesn't matter. You can use any color. We start painting from the top of the paper, and we take plenty of water and paint on our brush. When we use this technique, we must keep our board inclined. We need to lift it slightly, and when we lift our board, water comes downwards, and this is called beat, when we are using this technique, we need to keep this bead alive and not allow it to dry. In this way, we can get a smooth wash. Now we are repeating the same steps. You can see I'm using my brush horizontally and the bead comes downwards. It is important to take lots of water at this step. Now, we finished our painting and water comes at the bottom. And if we tilt our board back, the water will flow back up and create a watercolor boom. To prevent this, I am using a damp brush and taking excessive water. As you can see, we get a smooth wash and there's no brush marks on it. Now we move on to our second technique, which is wet on wet. Here, we will learn how to make a gradient wash, and we will start from dark and move towards the light. For this, our water container must be clean, and now I will fill it with clean water. I change my water tank, and now we will wet the paper with clean water completely. Now, you can see how wet the paper is, and that should not be puddle on the paper. As a color, I choose red green, a dark green, and I'm starting to paint top of the paper, and water comes downwards. At this stage, we need to control the paint. If there's too much paint, you can take the excessive paint with your brush, and you can use napkin. And the bottom of the paper should be lighter. And here, I'm using more water, less pigment. And I want to add more pigment to the top of the paper. It is very useful technique also to paint the sky. I think it needs more paint, and we will use this technique to demonstrate the spread of the light. The areas closer to the light source will be lighter, and the areas further away from the light will be darker tones. And if your paper is sittil wet, you can make changes. You can add more paint or you can take excessive paint with your damp brush. Now we can move on our third technique which is dry on wet. And in this technique, we will learn how to use two different colors together. As a color, I added a little bit brown to the paint mixture. And it doesn't matter how you use your brush. And the important part is that the first layer should be wet enough. You can use lots of water and pigment in this first layer. And the top part is started to dry and I'm adding more paint there. Now, as a second color, I choose rig and green, and I'm adding little bi sepia, too. We are starting to paint from the top of the paper. And the important part is that the paint mixture should be thicker, there should be more pigment and less water. Is density should be like milk. And as you can see, paints come downwards, and we continue to keep our board inclined so that the paint comes down more. And then we bend it to the right side. On the left side, in this way, we can get a smooth transition between two colors, and I'm adding a little bit more paint to make it dark the upside of the paper. And I think that's it. We achieve beautiful, smooth color transition between two colors and see you in the next lesson. 5. Softening Edges & Lifting Color: Sunrise or the As affected by the sunrise appear soft and blue. And in this lesson, we will learn how we can soften the hard edge in watercolor to create this effect. And I will show you three techniques for this, and let's start with the first one. When we use watercolor on dry paper, we always get hard eggs. But there are ways to soften the hard edge without using the wet on wet technique. And the first one is the water. Now I prepare a yellow pink mixture I'm starting to paint the left side, and the paper is completely dry, by the way. Now you can see it's settle wet. It's not dry. And I took a wet brush. The brush must be completely clean and wet enough. We apply water with the tip of our brush to the edge we want to soften. And in this the paint will come towards the water a little bit, but we never touch our brush to the painted area. And now I change my brush with another clean brush. The brush is still wet and do not touch to the painted area. And the paint will come a little towards the water. But since we are wet large area with water, this will not be a problem. After paper rice, we will see the soft edge, and the only thing we need to pay attention to is that there is no paint on the edge where we use clean water. And the second technique is the damp brush. We have more control in this technique, and now I'm painting a large area and using the same color again. And I don't want to paint a strate edge because I want to show how we have more control with this technique. And now I clean my brush and remove excessive water with a napkin, and we need to soften only the eggs with the tip of our brush. And it is very important that we clean our brush frequently. And the wetness level of the brush is very important. At this stage, you need to take excessive water with your napkin. And unlike the first technique, here we can easily soften smaller or difficult areas. And as you can see, in the first technique, we softened gradually. I mean, we soften a large area. But with this technique, we soften only the edge of the paints. Now let's move on our third technique which is lifting. First, in order to try this technique, we will prepare a base by combining the two colors we learned in our previous lesson, and we will use yellow in one part and the green in the right side. I choose yellow and green because I want it to look like a little view from a forest. We can think of it as if there's the sun on the left, and sun rays illuminate the area where the trees are. Now I will change my brush and get a synthetic brush. Since synthetic bristles are harder, they are more useful in this technique, and I take a napkin in my other hand. I clean the brush and take excessive water with the napkin. And now we will lift the underlying paint by rubbing the damp brush in a straight line, and we need to clean our brush after every time we remove the paint. If we don't clean the brush, the paint will transfer back to the paper again. On the other hand, since natural brushes are soft and they have difficulty removing the paint, and also they remove the paint over a large area we cannot control easily. And some paints are more difficult to lift. It leaves more trace behind them. And this is institution related to staining level of the paint. If you check, there is information on the paint tubes about how permanent it is. Therefore, you should pay attention to the permanence level of the yellow color you use wine painting the light. And additionally, when using the lifting technique, the moisture level of the paper also important when trying to lift the paint. If the paint we are trying to remove is really dry, it will be more difficult to remove it. But if the paper is slightly damp, we can remove the paper easily. You will understand this better while we painting our picture. We are almost done with the lifting, and I think we made a really beautiful reflection of sunlight. See you in the next lesson. 6. Creating Textures for Greneery: In this lesson, we will learn how to create texture for greenery. The picture we will paint is a forest view, and sunlight is separating through the trees into the forest, and there are a lot of green areas. And if you do not create texture in these green areas, we cannot bring life lengths to our painting. And now we will learn three techniques to create texture, and the first one is water supply. And now I am preparing a paint mixture for the base. I'm mixing written green with the yellow and adding little bit sepia. You can add rsenna. You can see I added a lot of water, and the consistency of paint mixture like tea now we are painting the base. We are using the same color, but I want to add different colors also, a little bit yellow and a little bit sepia here and do not forget to mix them to each other. And as you can see, our paper is very wet now. If we try our technique now, we won't get any results. We need to remove excess water with a brush, and we need to wet the paper to absorb some of the paint a little bit. It should be slightly moist. It's too wet right now. And if you try our technique after our paper is completely dry, we will not get any result this time also. We must be very careful about the moisture level of the paper. I think the paper is almost ready. Now we will splash water, and I'm taking water to my fingers. And now I'm splashing and I will let the paper dry and after we will see the results. Now the paper is completely dry, and we can see the effect created by the water. It creates such a texture, light green spaces. In this way, we will be able to capture that in the green areas in our painting. Now we can move on to our second technique, which is paint splash. In this technique, we will create colorful textured areas. First, we need to wet the paper with clean water and be sure to wet every part of the paper. And we are preparing color mixture for the base. I'm mixing reaching green with the yellow, Hans yellow, and I am adding little bit sepia to to make the color unsaturated. It should be light green, and I think that's good. Now we are preparing the paint we will suplsh. And what is important here is the water ratio in the paint we will supplh. And the consistency of the paint should be like milk. If our paint mixture is too watery, it will immediately disperse on the base. You can see it is too thick. I will add a little bit more sepia and now we will take lots of paint to our brush and we will supplh the paint by tapping it with our finger. I also suplsh it with the tip of my finger. As you can see, we get different results with these two different splashing techniques. When I hit the brush on my finger and splash it, larger drops fall on the paper. And also, when we splash it with the tip of our finger, smaller drops we will get. I ended little mid sepia to paint mixture and splashing here more. And now we will let it dry and we will see the effects clearly later. And now the paper dry completely, and we created such a natural and realistic foliage texture. And I think this technique is really useful. For example, we can use other colors and create a soil texture or a stone texture. Now we can move on to our next technique which is salt. And to try this technique, first, we need to wet our paper with clean water completely. Later, we will create a green base for the technique, and I will use the same colors again, and I just want to add a little bit yellow. And we will use table salt here, a regular salt, and I'm just going to show you only one technique with salt. But watercolor salt technique is a really complex subject. The result we obtain will vary depending on the type of the salt we use and the size of the salt, the type of the paint or the moisture level of the paper. I have another very detailed class about this, and you can get more detailed information about salt by watching that class in my profile. And I am taking the excessive paint from the paper, and now I think the paper is deady. We can sprinkle the salt. Not too much, a little bit. And now we will let the paper dry completely. The paper dry completely, and I clean off the salt. As you can see, the salts create a tiny starboard effect. We will use this technique to create foliage in green areas. And what we need to pay attention to here is the moisture level of the paper when we sprinkle the salt. If your paper is too wet, the salts will melt immediately and will not create such an effect. Our paper should be slightly damp. I think SOT is truly magical tool when painting watercolors, and the effects you can achieve are limitless. You can also watch that glass and apply what we learn in this project. See you in the next lesson. Mm. 7. Landscape: Sunlıght: In this lesson, we will start to put the techniques and information we have learned into practice. First, we will paint our first layer for the sun and sun rays. Now we need to determine the location of our sun. The sun is here between two trees, and starting from that part, we will paint the sun rays in a circle. Before we start to painting, the lines of these trees in the background look very distinct. We need to fade them out a little. And for this, I use this soft eraser to remove the excess pencil marks by gently pressing on those trees. And I think the other trees can stay because we will paint them in a dark brown anyway. The lines will not be visible, and I need to draw this tree again. And we will use the wet on wet technique in the first layer because we will need to get soft ads. And for this, we need to wet our paper very well. Here are the self additive as of the watercolor paper I use. And if you are using a single piece of paper, you should tape your paper tightly to a board because we will use a lot of water. And when we use so much water, the paper start to swell and it becomes difficult to paint. And you can solve this problem by tapping intensely. And after the paper is completely wet, we will wait for a while and the paper absorbs the water. After the paper absorbs the water, we will wet it again. So the paper will be sufficiently wet. And in this way, we will be able to work on our paper for a long time before it dries. Now we are starting to paint our first layer, and we will use lemon yellow for this, which is called yellow. I am adding a little bit handselot starting from here. Here is the center of our sun. And after cleaning the brush, we need to soften the middle part of the sun. And now we will use hands low, only hands low, which is warm yellow, and we need to paint with a circular movements. And I'm using odolin yellow now, which is warmer. And if you don't have this color, you can add little bit orange to your yellow color. And the color should be warmer as we move away from the center of the sun and keep the brush movement circular and it didn't built here. At the same time, the tone of the yellow color should become lighter as we move away from the center of the sun. And now the center of the sun has become really yellow, and I don't like this. So we need to remove the paint there with a clean brush and napkin with a circular movement. And I want to add a little bit more here. It looks lighter to me. Again, with a circular moments. I add a little bit orange too while we continue painting, and we should also check the wetness level of the paper. If our paper is too dry and hard edge appear, you can spray a clean water on the paper with a spray bottle. And since our paper was wet, the paints went towards the center of the sun again. And now we will use another technique to remove the paint from the center of the sun. We will use a clean napkin and pierce it towards the center and left the paint there. Every time I press the napkin, I use the clean part of the napkin, by the way. As you can see, after removing the paint with a napkin, there are heartag in the center, and to fix this, we will use a clean damp brush. And now we can start to creating the sun rays. And for this, we will use a clean damp brush. Starting from the center, we remove the paint in a single and straight line. We shouldn't forget to clean our brush and remove excess water after each brush of drugs. And here we need to clean this paint with a clean brush, and we will encounter this situton after every brush moment. So do not forget to clean those paints before the paper dries. And here, here new one. And as I said before, some paints left more easily, and some of them stain very much to the paper, and it is really difficult to remove them. And if you have problem lifting the paint, you can check the sustaining level of your paint, and at the same time, paper also plays a big role in the lifting technique. If you use 100 person cotton and coiled paper, you will lift the paint much more easily. And now I want to change the brush with a flat brush because some sun rays need to be thinner and a flat brush will be more useful in this tab. And after wetting my brush and dampening it with a napkin, I flattened the ends with my finger to make thinner sunrise. Now I want to make a correction. Here, the sunlight was too thick and I lift the paint too much, I think. Now I take a little bit yellow paint to my brush and paint a thin line. In this way, we will get two thinner sun rays. I think this might sight is enough and see you in the next lesson. 8. Landscape: Sky & Atmosphere: In this season, we will paint the greenery in the background, and my paper is completely dry. I dry it with the blow dryer, and now we will wet it again with the clean water. However, while wetting the paper, I do not press my brush too much on the part where we painted the first layer. If we press too hard, we can activate the underlying paint, and we don't want this, so we wet it slightly. Now, we will paint the sky part first. And for this, we will use cobalt blue. It will be very light colored. Only the top of the paper. Now in this lower part, we will use cold colours to add more depth to the back. And one of these color is piness gray. I want to add some sucuas too. As you can see, it is a really nice cold tone a little bit to this side. Not too much. And now I want to use a little bit more to cos here. It is a really nice cool color, and now I want to change my brush, and this is a synthetic brush. We are mixing pines gray with a red and green. We will make a cold green tone and adding little dis sepia. More pines gray. That's nice. Now, we want to create a soft background using the tot technique, and we will change the color tones to create tree leaves or bushes with the soft ads. Because of that, try to create different movements with your brush, try to change color tone. And now we are moving the middle part. I am starting to paint upper part of the horizon line. In this part, we will use more cold colors like pins gray, or you can mix Pines gray a little bit sepia because this part is more far away from us and little bit light green here, and we will need to smooth the bottom part of the paint. And more colder tones here. And you should use your brush freely. Do not try to make straight lines or shape of the leaves. We are just imitating the real tied leaves or the washes. And after painting the second or third layer on this, this part will remain very blurry and will not be very noticeable. And now we will increase the amount of pigment in our paint mixture. I added a little bit more pines gray, and the consistence of the paint mixture should be like buttery texture because the foliage in the first layer was more bleary. Now we will make greenery with the soft edge but more visible. And in this way, the paint will not disperse immediately in the layer. And now we need to lift the green paint on the sun rays and we will use the same technique again, which is lifting. We lift the paint using a damp and thin brush. And after every brushes throws, I am cleaning the brush with the napkin, and we must pay attention to the angle of sun rays by removing the paint. It should be in the same direction. And now we will paint some greenery at the top of the paper, and the paper is a little dry. I want to spray some clean water, only the upper part of the paper. Oh and now we will use one more green tones here. I mixing green green with the yellow and little bit Brgena and consists of paint mixture like milk. We will create a leaf image by separating the bristle of the brush a little bit, and our paper is still moist, and the leaves here will have soft eggs. And since the leaves remain in the background, we need to get a Bleui image. A little bit here. At this part, we will use more green paint. And now we will change the color tone. We will use color green tones as we move away from the sun and I added little bit pinss gray to the paint mixture. And there's another thing we need to pay attention when painting the leaves. Be careful to leave space between them. If you make them too close to each other, the sky in the first layer will not be visible. And now I'll take anselo and little bit fatillablu because the closer we get to the sun, the warmer color tone should be. I'll take lots of hansa low any b can work little bit Brsena and let's see the colors. I think that's nice. It is light and warm near to yellow green. And I try not to paint over the sun rays. And you can see we are painting the leaves on the parts between the sun rays. Little bit here, in this part. I think in that part, the paper start to dry. You can see the hard eggs. In this part, I will use only Hans low to reflect the sunlight more. I want it to be more visible, and I will soften the eggs here. I'm using a damp and clean brush. A little bit more here. While we are painting these leaves, our paper got a little drier and now I'll take a cool green tone and paint more leaves. And since our paper is a little less moist, the leaves at this stage will be more noticeable. You can see the leaves preserve their shapes. They are not separating easily, and they are more visible, a little bit here towards the sunrise. And here. And it little bit here. But this part is dry already. I want to spray clean water here. And now we will paint a pine tree on the left side near to the ground. And for this, we got a cool green colour mix, and I'm separating the bristles to create pine texture a little bit here. And these are it leaves a little bit more to upper part and a little bit this part. And here. And this part is dry a little bit here. I want to spray. And now we will prepare a paint mixture, and there will be lots of pigment in it. I mix rich and green meat with the sepia. The consisting of the paint mixture like butter. It's creamy texture. We first started painting our leaves with the lightest tone, and our paper was very wet. And as our paper slowly dried, we both darkened the green tone and use a more pigmented paint mixture. In fact, this is how we created dep in our landscape. And this part upper part is very dry. I correct it with the damp brush a little bit here. I take the excessive water. I think that's it and see you in the next lesson. 9. Landscape: Background Trees: Hello again. In this lesson, we will paint the trees in the background and the ground blow. And now we will use the wet on wet technique again, so our paper needs to be completely dry. I write the paper with a blow dryer. And if your paper is damp, you can write quickly with the blow dryer before starting. And we wet it again with clean water. And the reason I want it to dry completely is that if the paper is even slightly damp, the paint underneath will reactivate when we wet it again. But if the paper is completely dry and we wet it again, it is more difficult for the paint underneath to activate. We do not press our brush too hard on the paper, and we distribute the water with the light brush moments. Now, first, we will paint the ground. And as you can see, there are places where the light hits the ground more intensely here. And this part needs to be darker because of the trees. And we will start with the light tones first. And to create sunny atmosphere, I use hansa yellow in this part and little bit Buffy Tanium. If you don't have wafytanum, it's not necessary. You can use only yellow warm yellow colors in the middle part and little bit here under the trees. Now I'm going to add a little bit rosier now to the mixture, and I will add this paint the eighth of the area where we are painting a little bit, not too much. It's going to create a warm earthy look like this. And now in these areas, we are going to use a light and warm green tone and mixing light green with the hansa yellow. And now, since we are using the tome technique here, our paper and brush are wet, and so the paints will mix each other a little bit on the paper. And I want to use dark brown here, this part, and under the tree here. A little bit Barcena and here. And they are mixing to each other. Me Barcena I want to add here. And this is our first layer. It will be light and blurri and a little bit yellow on this part. And now since these areas get a lot of sunlight, we are going to add more light greens and yellow here. I mix yellow green with the lemo yellow and a little bit Hanse yellow and more yellow here. This area seems empty to me, and I want to add green here. And now while our paper is stil wet, we are going to use the water splush technique to create some texture. I splash only the bottom part. Now we can move on the upper part of our paper to create the background trees. Now our paper is stil wet. When we lift the paper, you can see the sture content. Our paper is shining, and that's good. Now I want to paint more leaves on the top, and for this, we need to prepare a dark paint. I mix den green with the pins gray. At this stage, we don't want the leaves we are going to paint to separate too much. They should be more visible, and this is why the humidity of the paper is very important at this stage. If your paper is too damp, you should wait a bit. When you put the paint with your brush to the paper, you will observe how much the paint spreads and you can decide accordingly. Now I want to use warm green tones here. For this, I'm mixing sepia with the green little bit. Now we are preparing the paint mixture we will use for the trees in the background, but it will be like this. We will use colder and darker brown tones in the place far from the sun and warmer tones as we get closer to the sun, our color will become more orange near to the sun. Now I will try the paint. I think it's separating too much. The paper is still wet but too much. Because of that, I want to wait a little bit more. While waiting, I want to spread a little bit water to the ground and here a little bit. I think paper needs to be absorbed more water. Because of that, I will wait a little bit longer. Let's try again. Yes, I think that's good. It's not separating. And here, at this stage, I'm using sepia and versin together. And the tone is light. I want to add a little bit more sepia on the upper part. And we are using only the tip of our brush, and the paint mixture should be really thick. On the pigments, not too much water. If you use more pigment and less water, it is easier to control the brush trucks. Mm Now we have painted our first tree and at this stage, we will use lifting technique. To show the sun rays falling on our tree, we follow the sun rays and lift the parts on the tree with the tip of our brush. And after every brush strokes, we need to clean the brush with the clean water and napkin and eggs also. I want to add a little bit brown paint here. Now, let's move on to the second tree. This tree should be cooler toned because it is further back. And so we will use a little bit blue in the paint mixture. I am adding a little bit pines gray and little bit sepia. It is very cool tone and starting from here, going up. And now the moisture level of the paper is much better. You can say it's not separading it is easier to control, a little bit more Brsena on the bottom. And I think it's enough. Now we will use lifting technique again with the clean brush. I follow the sun rays direction and do not forget the clean brown paint. And now let's move on to the third tree. It is very light in tone because it is farther away from us. I'm using very light brown tone. And the bottom part should be a little bit more darker. In this part, we are using sepia. And this tree looks really light to me, and I want to add more brown. Especially on the bottom in this park. And I think that's enough. I just want to blue the bottom part. And now we will use the lifting technique again. We have finished the trees, and now let's paint some more leaves while our paper is still damp. I already had green paint on my palette. I just add ultramarine blue and Hans low. And now I am using natural bristles brush and separating it bristless because in this way, we can create more texture, not natural leaves. A little bit here. And you can see the moisture level of paper is great now. The leaves has soft ggs, but at the same time, they are visible. And more here, I'm using only tip of our brush. And now we are adding more hand sale load because we are getting closer to the sun. It needs to be more warm colors. Again, using only tip of our brush, creating leaves texture. As we move away from the sun, we need to use cold and dark green tones. But as we move closer to the sun, we need to use warm and light green tones, and that's the secret of this. Now I want to use more warm colors, more yellowish colors. I'm mixing Mersen with Hansa low. We will use this paint in the middle part. Now, as you can see, in this part, our leaves have heartaches because of the paper is very dry. So we need to spray a little bit water. And I give direction to the water a little bit. And now I want to add more coltons on the right side because it looks empty to me. And they need to have soft eggs. And now we have finished painting our background leaves, and we will finally use the lifting technique again. And I'm following the sun rays direction. And please do not forget after every brush to drugs, we need to clean our brush with the napkin, and I think that's enough and see you in the next lesson. Oh 10. Landscape: Foreground Trees: In this ston we will paint the trees in the foreground, and these trees will be much darker in color, and we will reflect the sun rays back into these trees. We will start with the tree in the left, and this tree is the farthest from the sun, so it will be a very dark brown because only the back of the tree gets sunlight. And now let's prepare the paint mixture. I'm using Pines gray and sepia, and you can see the paint is very thick, and we will start from here. And now we are using wet on dry technique. I have lots of paint on my brush, and now I want to change the brush. Now I'm using a natural versus brush. It holds more paint, and it is easier to paint with this. And now I'm painting the tree, we need to pay attention to making it look natural. And for this, first of all, I change my brush, and while synthetic brushes create straight eggs, natural brushes are soft and create rough eggs. And secondly, we do not paint the edge in a straight line. We paint them in a slightly uneven manner, and thus we get a more natural tree trunk. We finished the tree, and now we need to soften the bottom part of it. And for this, I'm using a clean damp brush, softening only the eggs. Now we will paint small branches on our tree in here, very small and thin. It will be. I was using a synthetic brush, but this brush was a bit thick. So I want to use a rigor brush. It is it has very thin and long bristles. For the paint, I'm using sepia and little bit ersena. It is a very dark brown, and you can see it is very thick paint, by the way. These branches will not be very long, but you can add them wherever you want, but we should be careful not to make them too close to each other. Now we are moving onto the second tree. We are going to use a dark brown tone on this tree again. But in this middle section, when we are getting closer to the sun, we are going to change the color tone. We are going to use a warmer tone. I start from the bottom part. Going up carefully, and I add a little bit water. And in this way, it will be more lighter ton. And now we leave the middle part and move on to the top part. We paint the top part using the same paint mixture. And when we reach the middle part, we do not take any more paint to our brush. We are using only a clean and damp brush, and we are softening the edge of the paint. In this way, we can reflect the softening of the ds of the tree due to the reflection of sunlight. And now the middle part is moist here, we will use Brzen as a slightly warmer tone. And the left side of the tree should be a little bit darker. I'm adding a little bit sepia too, and do not forget to separate the pigments inside of the tree. And in the right side, we will use orange color. I mix orange thehans yellow. Mixing it with the sepia a little bit. Now it looks too light. We need to add a little bit more sepia on the left side. We finished the tree, and now we will use the lifting technique to reflect the sunrise. And I use a flat brush for this. And we need to clean the excessive paint on the paper with the napkin here. If it is difficult for you to remove the excessive paint, you can wet it again with clean water, and after that, you can press the napkin on them. I'm rubbing a little bit here. And here, and the napkin should be clean and dry. If the napkin is wet, it will lift the paint underneath. And if the napkin is dry, it will only lift the paint where we use the lifting technique. Now, we will paint the branches for this tree. I'm mixing sepia with Persia, and I am using a rigor brush for this and taking excessive paint. And starting from here, very thin line. And it shouldn't be strate. It should be in a broken line, thin and broken. And when we get closer to the middle part near to the sun, we will change the color tone. We are going to use more warmer tones like arsena like orange. B, We finished the branches, and now we will soften the bottom part of the tree with the damp brush. Now, it will be a little bit difficult because it's dry already. And now we are mowing our turk tree. I mix sepia and little bit natural tin to make the color more darker and starting from the upper part. Painting, but this tree will be a little bit thinner. And again, we will left the middle part, and then we will move on to the bottom. And after that, we are connected these two parts to each other. And the middle part should be a little bit lighter, not too much. And for the bottom part, I want to use little bit piness gray because it needs to be more cooler ton because it stays under the shadow, and we are softening Now we will use the lifting technique on this tree, but this tree is a little further from the sun than the other one. And this is why not all the sun rays fall on this tree. We will use the lifting technique only for a few of them. And I will fix little bit there We finished the sun raise, and now we can move on the branches. I changed my brush. Now our music rigor and starting from the top, they should be thinner and in a broken lines. After painting a tree branch, if it look too dark to you, you can remove the excess by pressing lightly with a tissue, and sometimes I even smooth it out with my hand finger, and it creates a more natural look in this way. A little bit here. And in the center, they should be lighter. One more here. I am darkening it. And thin tip for the branch. And I'm darkening this one also. In this lesson, we've painted the foreground trees and branches and see you in the next lesson. 11. Landscape: Painting the Leaves: In this season, we will paint the leaves and bushions in the foreground. And right now my paper is completely dry and I want to spray water before we start, but we are not wetting completely, only just spray a little bit. And now let's prepare the paint for the leaves. I'm using the same color on my palette. I'm just adding cobalt boil and more cobalt Blu. You can use ultramarine to and little bit fetloblu a little bit more. And now I will add Rosiena it will make cool and dark green tone. And now we are separating the bristless. It's the natural bristles brush. Creating leaves texture. By the way, we are using a wet ton dry technique here, and you can see that on our paint mixture, there are lots of water. The consistency is like a t and And in this part, we are using more yellowish green tone, more warmer tones. And I think it needs a little bit water and a little bit here. We are moving the bottom part now, and you can see I'm only using the tip of the brush. I'm just touching the paper. Little bit here. O and here. When trying to create a leaf image, I move my brush horizontally. We touch and lift the tip of the brush, and we do not press too hard. And since it's a natural brushes it creates a texture and natural image. And now near to the sun, we will use yellowish color. Now I'm using hands low and a little bit Persian. Again, separating the breathless and here we are following the same moments, horizontal movements. A little bit here, not too much. I think it needs a little bit water. The reason we separy water because I want some eggs of the leaves to be hard and some to be soft and a little bit more Near to the center, I don't want to make too much leaves. I want the sun visible. And we remove the excess paint by pressing lightly with a tissue. Now we are using the lifting technique again, and we will remove the yellow leaves that are on the sun rays with a thin and synthetic brush. I'm just scrubbing the paper in a thin line. And after that, I press the napkin to take the excessive paint. I changed the brush. I use flat brush now because I want to create more thin lines. The brush needs to be a little damp, and we need to push the brush a little bit more. We started painting our leaves with the light green and yellow. And the first layer is dry now, we will move on to second layer, and we will use dc tons. I'm mixing thin green and a little bit rosy and a little bit more and war. It's a dark and cool green tone. And this is our second layer. Again, we are separating the bristles of the brush and creating the leaf image. And here on the left part, on the top, we are making big leaves. Now we can start painting the bushes or small trees at the bottom of the trees. And these trees should be lighter and have warm tones because the sun rays shine on them. We are mixing Hansow and green colour and separating the breasts again. And now we are trying to create a pine tree image, and I think it needs to be more yellowish, and I want to add a little bit more hansa yellow. And again, separating the Bests there are fever leaves in the upper parts of the pine trees, and these leaves expand downwards. So we will actually create a triangle shape with the leaves we painted. It will be bigger on the bottom. And remember, we are using on the tip of our brush. I am very gently painting a little more yellow and yellow. And we are moving to the center. On this part, we will paint a small pine tree here, small bushes. And now we are using more lemon yellow on the paint mixture, little bit tons love on the top. And you can see I'm using lots of paint and water and splashing a little bit here to get more natural foliage texture. And now we are moving to dark tones, and we are adding the dark tones under the light tones. We are not covering the light tones. We are just adding actually shadows to the leaves. Now, we will paint the third layer for the least, and we are moving on the darker colors. And now I'm mixing Berciana with the withing green. I prepared a lot of paint mixture. We need a lot. In fact, by doing this, we are creating dab in our painting by painting layer by layer. First, we started with the light colors and then mid tones, and now we are using dark tones. And in this way, we will create dap painting and a three dimensional image for the trees and the leaves. And a little bit on the left part here. I don't want to pay too much leaves in this part because it is very near to the sun and I don't want to cover the sunrise with the leaves a little bit here. And I'm taking excessive paint with the napkin. And here under the sun rays, little bit. A little bit here. You can see I'm careful not to paint on a sunray. I'm trying to paint between the sun rays. A little bit here. I'm taking excessive paint. We finished painting the leave, but the three branches seem a little to me, and I think we need to paint some more three branches. I already have brown paint on my palette, so I will use that. And if you don't have it, you can mix sepia and Berciena to get a tone close to this. And again, the branches will be thin in a horizontal direction a little bit. Here, one more. I'm taking sepia to make it more darker. And here, one more on the top. I think that's enough for the branches, but this tree on the right looks a little flat. And so I need to paint some dark tones on the right side of the territoran and here little bit, and I think that's enough, seeing the next lesson. 12. Landscape: Foliage: In this son, we will paint the ground part, and we will paint small grassy areas, rocky and soil parts. And first, we will start with the light tones. There were sepia and Berson on my palette, and I just add water on them. You can see how light the color is, and we are just painting the ge of the yellow part in a zigzag shape. And here I will add a little bit more horizontal and thin lines. Now we are going to paint over this green color here. And there was a green paint on my palette. I will just add little bit rosin and lots of water. You can see the consistence like a tea, and do not forget to separate the breasts. We are just imitating the grass look, and we need to be careful. We shouldn't cover whole area. We need to leave some space between the brush strokes. We should see the first layer. It will give a light effect to the painting. I'll bet too. It will be big brass strokes in there. I want to splash some paint and on the right side, we will use the same color only the bottom part. Now we will prepare a dark brown paint. Now I'm using sepia and adding little bit pines gray too. While the paint still wet, we will add little bit under the green areas. It will be lend each other in the painted area and little bit spray too because in this part we have soft eggs. And we will splash little bit brown paint too. And if the paint supplies on the top, don't forget to wipe it off with the tissue. And here, in the same way, we will add dark colors under the green paint. They are the shadows of the green part. Now, this part of the paper is wet, we wet it with spray, and we are going to use dark tones here because the sun light doesn't get much here. Also, since this part is in shadow, things in this area should have soft edge, and this is why I use tom technique here. And here I will add dark tones because that area is also under the shadow. And now I will add a little bit Brs to and we will soften the edge of the paint with the damp and clean brush a little bit here, too. And now we will move on the green parts on the background. And in this way, we create the contrast between the foreground and background. Now we will move on the warm tones for the brown. We are using Persena on the right. They look like there's a soil in there, but at the same time, we need to show the lighted area, the first layer, do not cover the whole area. I need bit here in a thin lines here and more horizontal lines in this part. And now we will add the dc tons. This area also is under the shadow, and we will use dark sepia color. A little bit d. They will mix each other, Berciana and sepia. But again, we need to be careful when we add the paint. And more dark tones in here. And it will create some texture. The paper is moist at this stage, not too wet, not too dry, a little bit more. Now while the paper is sitting wet, I want to display some water to create texture on the ground. You can see it started to bloom, and I'm using my finger to create texture too. And now on the horizon line on the background, we will use dark colors because that area is under the shadow, and I mix sepia with the Brsena you can see I hold my brush horizontally in that part. A little bit here. And now we need to soften the g and do not forget some space here, too. And we will add more duck tones while the paper is wet, small dots, thin lines under the tree. Now we are going to add some more greenery to this background, and this will be about the horizon line. And they will be in color tones. And now in this part, we are going to use a lot of yellow colour because that's the part of the painting that gets the most sunlight. We are directly using Huns and that part is a little bit wet. And this will look like little sunny bushes over there. And now we need to left the paint over the bushes. Again, now we are using a flat brush. After every brush drops, we need to clean the brush. Now, I want to add a little bit more paint to the right side of the paper while it's still wet. If you notice we practice a lot of techniques here. We also change the moisture level of the paper and the paint content of the brush. For example, it had been a while since we wet this part of the paper. So our paper is not very wet, it's slightly damp. And when we paint on them, the paint doesn't smudge right away. And I think the ground part is really good for practicing this because you don't have to imitate my Bisutroxs. You can create a texture yourself. And you can also practice the techniques and the moisture level of the paper and the pigment level of the brush also. And little dots here. And now we will create a then branches above the ground part. On the right side, they will be longer, like tree trunk, but it's written And now I want to add some highlights on the bushes background. And we are using a yellow color for this. Normally, I am using white japan or white gouache for the highlights. But it's really sunny landscape. I want to use directly Hansow. And there is less water on my brush, pigments, directly pigments and let's brush a little bit more here. And now we will paint some branches on the left side. Again, it will be thin and long. It's like a tread. Now we will create texture on the ground for this, we will use dry on dry technique. You can see I take excessive paint from my brush. It means the paper should be dry and brush also should be dry. For this, I'm using a natural rests almost there's no water on my brush, pigment. And for the color, I'm using sepia and we will splash a little bit sepia color on the ground. Now it's time to paint shadow for these trees. And for the shadow, I am mixing a sin crimson little bit cobalt blue here. It's a dark brown color, but at the same time, there's blue on it. And we need to follow the direction of sun rays. And now for this, not too much, a little bit. And one more for this tree. You can see there's lots of water on the paint mixture. It's very light color and taking excessive paint. Now we are going to add a little bit more dark brown to these two trees on the left because they look flat to me, and I want to give them a little bit more dimension. A little bit on the left side, not too much, only edge. And for this tree, also, only the left side, we are painting. And the painting is almost done. We are just doing the final touches. And now we are painting small dots and tiny branches on the ground. And for this, now I am using sepia and here a little bit. And I think we finished this beautiful landscape. See you in the next lesson. 13. Cityscape: Sky & Artificial Light: In our previous project, we learn how to paint natural light. And now in this lesson, we will learn how to paint artificial light and how it affects the things around it. And before we start to painting, first, we need to wet paper with clean water completely. You can see I'm using lots of water, and we need to make sure that we wet every part of the paper very well because we need time vamp painting, and the paper shouldn't dry immediately. The paper is very wet right now, so we will paint the lights a little bit later. But we can start with this sky because the wetness level of the paper is very suitable for that. We mix finest gray with cobalt blue. And in this way, we will get dark midnight blue color like this. Now we are using wet on wet technique, and we should keep our brush always horizontally. A little bit more. The upper part should be more darker in tone. And this part is okay. Now we will use cobalt blue directly. And starting from this part, we will move gradually towards downwards, and we shouldn't get too close to the lamp while painting and a little bit here, we will be lent to color each other. And you can see we left this part white because we will add another color here. Now I am adding a little bit is and creams to the paint mixture because we want to get a purple that's close to the blue color, and we will mix it with the cobalt pllu. We are blending to each other. And as we get down, we need to increase the amount of pink in the paint mixture because I want the sky look like it just darkened. And we are painting the bottom part with the paint on the palette. We are using very light colour, lots of water. And on this part, we will use lemon yellow for the lights, little bit sylow too. And we start painting right from the center of the lamp. And while we are painting the sky, the paper start to dry a little bit and the humidity decrease. And in this way, it reached the exact humidity that we wanted. It's slightly damp now. We can control the paint easily, and at the same time, we will get the soft gs. And now we will add a little bit orange to the palette, and we will mix it with the yellow color. And now we are painting around the yellow area with the circular movements. And for this one also, I want to add I want to add more color. It looks very pale to me, a little bit more orange and yellow. And for this one, also, now we will use lifting technique in the center of the lamp. And for this, I cleaned the brush completely and remove the excess moisture. The brush should be almost dry. And now we also need to belnd this yellow light with the purple color we use in the sky. But I see that my paper is a little bit dry right now, and I have difficulty when mixing the colors. And I think we need to spray little bit clean water, and we can um moisten the paper again in this way. And my spraying water on the paper again. The colors will lighten a little bit. So we need to add a little bit more paint, a little bit for the lamps, a little bit hansa in a circular moments again. And here, And also, the sky also looks really fate to me. I want to add more pins gray. Actually, we are using the same color again, Pine gray for the top and for the middle cobalt blue here in this part a little bit lesion crimson. And we are mixing it with the pins gray and cobalt blue here. And in this part on the bottom, we will use more reddish purple here. And on the bottom. Now, in order for the yellow colours and the sky to blend naturally, we lift our paper while it is still very wet and the pigments come downwards and on the left side little bit. And by turning it in different directions and waiting for a while, we allow the pigments to move on the paper and mix with each other. It is really difficult to do this with a brush, and we can achieve a softer transition by giving direction in this way. And now we will use the lifting technique again. And the center of the artificial light is always very bright and close to the white, actually. And this is why we want to use a tissue to lift the paint. And the tissue is different from the brush. It creates a hard edge like this now. You can see that. To get rid of the hard edge, we will soften those edge with a clean and damp brush here. And I think we need to add a little bit more orange around the center. And one more here, a little bit not too much. It looks too yellow to me. And again, we will use the damp brush because you can see it creates a hard dish again. I want to soften that and this one and this one. And little bit here, too, and here. And we finish the first layer for the lamps and for the sky part also. See you in the next lesson. 14. Cityscape: Painting the Street Lamp: In this lesson, we will paint the metal parts of the sutured lamp. And we will start from the top part of the lamp, and there was already gray color in the palette. I'm adding a little bit sepia to it. We will get a dark brownish color that's close to the black. And starting from here, at this stage, we need to be a little bit careful because we are painting a very small area, and we are using on the tip of our brush now. And I'm continuing with the same brush. But if you want, you can use a thin bristles brush while painting the small aras and carefully moving the left part. And again, I'm using the same color in this part on the top. And of course, you won't use the same color through the lamp. And now the areas that closer to the light will be warmer and lighter tone because they reflected light. Now I am softening the edge near to the light source, and I'm adding a little bit more paint this part on the right. A little bit here. And now I want to add a little bit mercena on the bottom because it needs to be a warmer color here. And again, we need to soften the eggs. And we are relending two colors to each other. And now we are only using the Mercana on the spot. Also, our colors should be in a light tone because these parts are very close to the light source. So they should look both very warm and light. We don't see the parts on the right and left complete, we only see them from the side, and so we painted them in a thin line. But we see the middle part clearly from the front, so it should be a little bit thicker compared to them. At the same time, since the middle part of this line is closer to the light, we are painting that part a little thinner and in a lighter tone. And now I want to soften the edge of the middle part a little bit. Now we are moving on to the bottom part. In this part, we will paint a small circle. And on the side, we will use a dark color. And on the back, we will use birch Sienna because this side is facing the light and here a little bit more. And we will continue to paint this line a little bit darker, it needs to be. And on the here, I will use Bersana directly on a line tone, but we will continue with the dark tone on the bottom. And here we will use lighter tone where we approach the light source. So this means we use a little bit more water on the part, same color, but lighter tone. And we are painting downwards using the same colour mixture. A little bit carefully inspired. And now on the bottom, I will use more pigment sepia with the natural tint. You can see how I'm using the brush boldly. And the bottom part doesn't look symmetric to me. I need to fix this little bit here. And parts also looks very light. I want to add more Bersna to reflect the warmness of the light source. Here And in this part, I am really careful because the shape is really difficult to paint. We finished this part, and now we will soften the eggs of the bottom part. And when we get to the middle part, the top and the bottom of this line will be dark again, like this. And in the middle part, we will use a very light colour. Now, in this part first, we use Bercia as base tone. And then we paint the edge with the dark brown color. And here. And we make sure that the light color underneath is visible. And under this more darker tones. In this part, the metal piece is closer to the light source, and this is why we use slightly lighter tone here. And the left side of this metal receives more light while the right side remains dark, and that is why we add little more dark tones on the right side on the eggs. We almost finished the lamp. I just want to leave some parts to add highlights to the lamp and the brush is clean, and I just lift the upper part of the lamp here a little bit in a thin line, not too much. And in this lesson, we learn how artificial lights affect the objects around them and we practice it and see in the next lesson. 15. Cityscape: Buildings in the Background: In this system, we will paint the city view behind the lamps. And since we are using tow technique, I will spray clean water. And if you want, you can use your brush with a clean water. I prefer the spray bottle because it's easier to splash water and because we are painting a small area. Now I will gently separate the water with the brush. And I'm careful. I do not touch the body of the lamp too much because I don't want to activate the paint underneath. And now we will get a dark purple color for the city. For this, I will use a synthetic brush, and I am getting pins gray, lots of pines gray, little bit resin crimson. And the paint mixture should be should have a milky consistency. It should be thick. There should be lots of pigments because when we paint the city, our paint will have the soft g and will not separate easily on the paper. A little bit more piness gray. I think the consistency is good. Let's check. You can see it's not separating easily on the water. Starting from the left, I'm following the lines, the sketch part, and I'm using the same color. A little bit more on the bottom part. And again, I'm careful. I'm not touching the body part of the lamp. And you can see we have subtle soft ads, but it's not separating easily. It keeps its shape. It's very important. And on the bottom part, I add little bit bat blue also. And if you want in the small area, you can switch in a thin brush. I'm using the same brush because it has a very thin tip. Now I want to add a little bit more cobalt pollute to actually left side here on the part. A little bit lavender color. More lavender here. But as you can see, a watercolor bloom has formed, and but we can fix this. I will just spray water. This kind of mistakes is very common in watercolor. And the reason is that I added more watery paint mixture than the first layer. I didn't pay attention the water ratio of the paint. And now here, the paper start to dry and this part will be more visible. And you can see I am using more dark color on the top, and do not forget to leave some white spaces. And here a thin line. And on here, we are using dark color, again, on the top of this house. Ten line again. And on the edge, little bit contrast and separate the pigment inside of that. And moving on the third building, we will use a little bit more lighter color because this building is far away from us. It's on the background, actually. And we are leaving psy paces again and thin strate line on the top. And connected to the building. And on the right, it should be more darker on the right side. And some lines for some structures. And again, we are creating some buildings. We are just indicating them. Mm. I am thinking if I should add some small lights to this city part like yellow light like this, but I didn't like it. So instead, let's remove this yellow paint and create a smoke texture. I lift the paint with the napkin, and I'm using clean brush right now to create the smoke texture. I'm just lifting the paint a little bit here, and I think that's enough. See you in the next lesson. 16. Cityscape: Final Details: We are almost done with the painting, and now we will make the final touch. I want to add a little bit highlight to the city. And for this, we are using a clean damp and a flat brush. And these will look like the lights of the city or the windows of the buildings on the background. And actually, our aim here is to give the city a little breath. And after every brush strokes, I take a little bit napkin and push it to the paper to take the excessive paint. And now when I look at this escape, it looks very flat and monotone to me. So I think we should add a few more buildings onto the foreground. And here is the first one. And I'm using a darker tone, same color, but darker tone, but it needs to be a little bit soft. For this, I spray a little bit. And separating to the right and left. And on the left, I want it to look more softer. And on the right, more buildings if you line. And we actually using the vertical and horizontal brass rocks to make buildings in the background to create such a cityscape. And I take excessive paint around the buildings with the napkin. And more color here and little bit here. It should be symmetrical and for the top five lines and a straight long line. Now, we are going to add a few birds to the sky to create a balanced, and they're going to be very, very tiny. We are going to paint three or five birds with the tip of our brush. And like we are making a lowercase letter ui and one more here. And one more for the bottom part, a small one here. And I think that's enough. We finish the painting and congratulations. 17. Conclusion: Hey, everyone, a huge congrats on completing the class. I hope this journey has not only enhanced your watercolor skills, but also opened up a new ways to explore light in your artworks. In this class, we master how to make smooth colored transitions using dry on wet, wet on wet and moist on wet techniques. Then we learn different techniques to soften the edge to create soft diffuse light and to lift the paint to reflect sunrise. We also cover different texture techniques for greenery. Finally, we put what we learned into practice into two different projects. In the first project, we learn how to create realistic sunlight effects with the right use of shadow highlights and subtle transitions. In the second project, we focus on the dramatic effects of harsh artificial lighting to build depth and glow, ensuring that it captures the atmosphere intended. Your dedication to understanding how to capture light in your painting is truly inspiring, and I am confident the techniques you mastered will continue to elevate your artistic expression. And if you have any question or need clarification, feel free to post them on the discussion page. I'm more than happy to have. And if you enjoy this class, I would love to hear your thoughts in a review. Your feedback is essential for me to improve my feature classes and make sure to share your paintings in the project galleries so I can celebrate your progress and give feedbacks. And if you like to stay update on upcoming classes, be sure to hit the follow button on my name. I can wait to see how you bring light into your artworks.