Learn to Paint 4 Iceberg Landscapes Using Watercolors

1. About the Class : Antarctica is the most pristine location left remaining on a planet earth. Photographs and videos shared by travel enthusiast, researchers and scientists. Leavers marveling at the craftsmanship of the knee to spread this appearance beauty of this surreal location on Earth. Many researchers, scientists, and even travel enthusiast have described their experiences to be otherworldly. Looking at this footages, even humid agreeing rate. Hello guys. I'm million ROI and artist and an art educator based out of Bangalore, India. You could find me on Instagram by the hand and lame at the rate, Neil's RC underscore record of where all my watercolor and gouache paintings are displayed. Apart from Instagram, you could also find me on Pinterest, Facebook, and YouTube. The link to which is given in my Skillshare profile. Welcome to my very first class of 2022, where we're going to learn how to paint this beautiful icebergs using watercolors before we deep dive into our class, projects or small section has been added wherein we discuss and talk about how we can create our own compositions with the help of reference pictures by using the two-thirds rule. If you are someone who has always been scared to try our subjects like ice, snow or icebergs. Then this class is just for you. In this class, I'm going to walk you through with all the list of supplies that I'm going to use for creating a class projects, followed by a section wherein we discuss each and every watercolor technique that we will be using for creating our class projects. This basic watercolor techniques section, I demonstrate to you how you can paint white using watercolors just by adding a darker background and retaining your paper white. We will also go through that how by tweaking your color intensity or the tonal value of your color and using the lightest mix, you can still make your object look white with a dark background. In contrast, with the help of this techniques, we are going to learn how to paint this beautiful iceberg landscapes in four days. Each day we will be trying out new color combinations and hence having absolute fun. So join me in this class and let's have some fun together. 2. Class Overview & Project Composition: In this section, we are going to talk about selecting a reference picture and how to make your own composition with the help of those references. Now when selecting a reference picture, select a picture which is having a subject in its mean focal point. Now what do you do if you find a reference which has too many elements in it, but you don't want that complexity level, but you want to simplify it. So this is where our two thirds rule will come into play. And I am going to show you exactly how you can do that. Now let me explain to you this method in a very simplified version which I have understood. Suppose this is your paper. Now try placing two vertical lines and two horizontal lines so that you get equal size portion grids of boxes. Now try placing the main subject or the object that you want to place within the grid. Say suppose I'm placing my eyes book on this last grid and I occupy it entirely. It is placed on my left as well as on my right, but I do not find it that appealing. But whereas I do the same in this center grid box and along the lines of intersection, I feel that it is much more appealing and visually pleasing to my eyes. So yours is another example. Suppose this is the sheet I draw, again the same horizontal and the vertical grid lines. Now I'm going to use this box and I'm going to place my main subject or the focal element right from left across to write. And I will try to make it intersect along the lines of this grid boxes. So I like to do landscapes are placed, my focal subjects are elements in this particular format. Whenever I'm going for painting landscapes, I hope this gives you a better understanding how we are going to proceed Han with the composition for all these projects. You can see, right, all these four projects I have kept in mind about this two-thirds rule and all my icebergs are recording replaced. I have not added only in here, I have added this two penguins as the supporting elements, but the main focal element remains the same, whereas the background elements are always in blurred. So see you in the next section where we will be talking about the metadata fields. 3. Materials Required: Let's quickly walk you through with all the list of supplies that we are going to need for our class project, starting with paper, this is tending to 14 inch, a 100% cotton, fine-grained cold press paper, which is of 300 GSM thickness. This is from our cheese. Next coming to our mixing palette. Today I'm going to use this plastic foldable mixing palette, which is of 18 will palette. Now, instead of this, you can also go ahead and use your ceramic palette. Dysplastic foldable palette is quite handy to use because you have this well-defined wells where you can squeeze out your pins directly and folded and just take it along when you are traveling handy, isn't it? This is also quite cheap. You have another variant from medulla mission. Now coming to our paints now, this is my paint set from PWC. This set is 32 colors. Do not worry, you need not have 32 color paints it. You can always work with any primary colors or primary colors that you have got. Always, always choose your watercolors set which consists of split primaries because these are fundamental to your color wheel and color mixing. So with this primaries, you can make thousands and inlets of color combinations and colors. Okay, Now coming to our brushes, these are the brushes that we are going to use for our class projects. Now, I love these brushes. These are my absolute favorite, especially my silver black velvet size number 12, 842. Now, this is Princeton wash brush, which I'll be using for laying flat washes. And now these are my round brushes. So as I have told, I have got 12842 size of silver black velvet round brushes. They are very good when it comes to watercolors because of good holding capacity of water and paint. Now the next brush that I'll use is this size number four brush. Now instead of my silver black velvet, size number four, I will use this long round brush from Princeton velvet does series of size number four. So I prefer, in my brush combination mixes this one synthetic brush at least to have a better water control when it comes to certain detailing aspects of the painting. Now next is the two jars of water. Some tissue paper. Now instead of tissue paper, you can also go ahead and use any tissue paper towels or your any rag clot, anything that you prefer. Now if you are using a sketchbook, this won't be required. But if you're like me, like to have clean borders around your paintings, you might be needing this masking tapes or washy tapes. You can go forward any size that you have, their various sizes available in the market. The one inch and half an inch and two inch tapes. Feel free with whatever you have got and you can use them. Now in order to tape down your paper, you would need a surface. This is my surface where I'll be taping down my paper always go for a non-absorbing surface so that the water is not absorbed. Apart from these, we would also be needing a ruler. So depending on the size of a paper, you can go for a smaller or a longer ruler in that case. Now pencil for getting the preliminary sketch or the outline done on the paper and eraser. So these are the very basic materials or supplies that we are going to use for our projects. So grab them and join me in the next basic watercolor techniques section. 4. Basic Watercolor Techniques: Hey, guys, let's get you started with the technique section. So we are going to cover all the basic watercolour techniques that you need to know for getting started with our class projects. The first technique is wet on red technique. Now, what does that on technique essentially mean? It means that the red the to it that you are looking at is your white people's surface. So we are going to read people dry, people surface with the help of some water. Now the next word wet means your wet paint pigments that you are going to reactivate your paints using water. Now, when going forward on Reddick, Disney, do important factors that you must always remember is to exercise water control in applying your water to your dry people surface, as well as, you know, applying water to reactivate your paint because too much of water in both of these cases will lead to a rather very uncontrollable state. Now, what I mean by uncontrollable is the point where you know your paint and water will start running across and you might not be able to get very, you know, gradient wash that you wanted to achieve in the very first place. And also when there is too much of water in both of these people, as well as in your paint, your paint will start fading out a lot lighter when your paint starts drying out on the people. So this is why water control exercise is very, very important when it comes to any watercolor technique. For a more detailed explanation about all these basic watercolor techniques. I have got you covered. You can go check out my glass watercolor sunset seascapes, where all these techniques have been explained in great detail. I am happy with my gradient wash that I have achieved using this baton technique, the transition between dark to light is looking awesome. Now let's move on to our next technique that is wet on dry technique. Now, what exactly is wet and dry wit your meaning, your red paint that is, I'm reactivating my paint with the help of water, so not too watery, but the right amount of water is needed because in this dry surface, you are going to leave your wet brush, which is loaded with your wet wind, hence the wet and dry technique. In this type of technique, we have much more control over our paint because there is only one thing that we need to control that is the amount of water in just the paint that we are using. Our paper is absolutely dry and hence it gives you those nice, clear, clean and crisp edges that you can see. So you're I am not showing you a flat wash your rather, I'm showing you how you can go ahead and use this technique to create this kind of landscape. Even so, I'm here trying to create this transition between the dark to light and yet trying to retain the boundaries that I am creating of this mountains using my concentrated pigment. So with this technique, you have, you know, clear well-defined edges or out lines do whatever object that you are painting with. Mostly, this technique is widely used for detailing purposes or adding some details where you know you want a precise, clean outline to your paintings. Now, in a very short while, you will be able to see how precise my strokes are because I have exercised water control with the water that I have, you know, used to reactivate my beard. So can you see the well defined lines forming trees? So these are the pine trees that I'm trying to create here and to give them a feel of layering. You can call it a layering that is from light to dark transition. I am using different tonal values of colors. So yeah, I'm trying to show how you can use all of the watercolor techniques in your landscape painting and bring out the effect of depth into your paintings. OK, so now let's move on to our next technique, which will be another type of flat wash blending that I'll be showing you here. This is also known as variegated wash. And as you can see, I'm letting my people, but coat of water. So yes, this is going to be a bet on the technique. So once done with courting the people with water, now I will go with my brush, which is loaded with my being two big men and just to one promotion of the brush, I'm helping the color spread out onto the people. And still here I'm going to use this one color. And now from the bottom, I'm going to use another color. So mostly this kind of technique involves you to use two colors one, maybe a lighter one and the other the darker one. So here we go from light to dark to give you that ombré kind of effect. You can see how beautiful and smooth my transition is looking between the colors now to make it look even more smoother. I'm going to go from the top again and slowly come down to this intermediate section where both the colors are meeting, so to have a proper blending. To help you relate more with this techniques, now I'm going to show you how we are going to implement this techniques in dual class projects. The first is a gradient wash of the flat wash. You can see we have used it for the sky now for the variegated wash using two colors. We are going to paint our first class project using this technique. You can see right how beautiful that sky is looking the transition between two colors. So this is how we are going to use. And now the third technique which I'm going to show you in a while is the dry brush technique. So you can see, right, the icebergs are having those distinct clear ridges or lines having some distinct shape. So this is what will be a layering technique. And the other, you know, the lines and the code texture deep kind of pattern that you see is the dry brush technique. Dry brush technique will be used in almost all of our paintings because that is how we are going to provide the iceberg that, you know, groovy eyes, texture that you often see on the icebergs. So moving in quickly with the next technique that is a dry brush technique, you can see how dry the brush is looking right now, so I'll go wet it a bit and make my brush just damp. I have soaked up the excess amount of water in the belly of the brush. Now I'm going to load my brush with a concentrated paint pigment value. You can see how much water was there in the paint, right? So you need to use a little concentrated amount of paint and less of water in your paint mixture to get this dry brush effect. This dry brush technique will be much more pronounced on your paper surface, which just textured now all previous watercolor paper already has this nice texture feel to it, right? So you wouldn't get this dry brush strokes when you try doing the seam on a paper surface, which does not have these grooves or texture on the people. If you are a landscape painter like me, so I would always recommend you to go for people's office, which is texture that is the cold pressed paper surface. Now, if you are the illustrator, most of the illustrators approve of hard pressed surface as their go to paper surface. Now it depends again individual to individual artist or artist, because based on your preference and the way you love your effects to be, you will choose your people. Also, when your brush is, you know, almost exhausting its red pigment or paint, you will be able to see that your brush is producing this dry brush strokes automatically on a surface like cold press. Coming to our next technique that is the layering are the glazing technique. This technique of glazing or layering may sound complicated, but it's really very simple. Essentially, it is building multiple layers of paint on top of each other, and you let one layer of deep in to subsequently before you go ahead and coated with another layer of paint. This technique is of very much importance when you want to create or add details or, you know, add sense of depth and your elements are the objects that you are painting. You're in this demonstration, I have already led the first initial court of a very light wash. With a very minimum tonal value of the color, and now I'm topping it off with another big minted value of the another color and creating or defining and shape or structure, you can see right the how the petal took its form or how the flower took goods from and just for reference that I'm showing you out here. So when you go ahead and keep on adding in densities are different. Tonal values of your color makes you always go from light to dark. OK. And apart from this, you will always use the pigment or color, which is transparent now in water colors that will be transparent, semi-transparent or semi opaque and opaque, right? So the more transparent your paint is, the more easier it will be for you to start with the lighter tone and then gradually build the layers with the darker tones. Getting started with our very last Stickney, that is how you can paint whites in watercolor. In this demonstration, I will be showing you how you can make your whites look white in watercolor painting. So the very first thing is I'm showing you with the help of the sky because Sky is my favorite go to subject. I'm going to paint a clear blue sky with some fluffy white clouds. OK, so for that, I have use used the mix of ultramarine blue. And now I'm just darkening it a bit with the concentrated pigment value and I'm leaving this white spaces you can see. I'm kind of outlining the shape of the clouds, but not filling it with the color, but I'm filling colors in the surrounding areas. So this is how this is one of the way that you can go about how you can make your whites look white. This type of approach is also known as negative painting, where you retain the white spaces of your paper and being those surrounding areas. Now, in the next example, I'll be showing you how if you add a Dockers stone of color in the surrounding area and just, you know, try to bring out the shape of the object using just that dark background color, how your color will come to order, the object will start appearing more whiter in appearance. Here I am filling in the darker shade, the darkest dawn of Indigo that I have around the object that I have just outlined. So, you know, the object will have its boundaries or the borders just around the background that you are trying to fill out with colors. So this is what exactly is known as negative painting, and this is a very, very cool approach how you can make your whites look even popping out and the white color just retaining the whites of your watercolor paper. Now, another version to it is when you beam the object inside with of lightest color tone value of, you know, of a blue mix such as the ultramarine blue or even. I would not say totally yellow, but our raw sienna kind of makes color or yellow ochre color. So that would give, you know, because white essentially is made up of all the colors of the rainbow right. So that's how it works. So when you see and there is a darker color in the background, when it fades out or dries out, it fades out. So eventually the whites of the paper start appearing still white, even though there is a tinge amount of color present in it. I hope this examples were helpful for you to understand how you can make your whites look white and what color. Now, my beeper has dried out finally, so it's time to remove all of this DBS from the people. I hope you have gone through each and every step of this techniques and have not skipped this because all of these techniques are going to come in handy when we start painting out projects. So I would advise or suggest you, you know, do not to skip this part to see. And even so, you can practice it along with me so that you have much more clarity and better understanding before we jump start our projects. Join me for the next lesson, because we are going to start with our class project one. 5. Day 1: Pastel Sunrise from the Iceberg: Part 1: So now let's quickly take a look at the colors that we are going to require for this project. The colors are brilliant pink R.P. still pink. Now you could always make your own base slipping by adding some white squash into your rose pink are neon pink. Then we will be using some ultramarine blue Prussian blue instead of Prussian blue. You could use Halo Blue. Any darker blue would would be fine, and then we will be needing some white squash to create some more icebergs floating on the water instead of gosh, you could also substitute it with white water paint. I hope you have got your color palette ready. So now it's time to dip down our people onto our board, so I'm here using a board. You could use any flat surface that you have available with you. Make sure that it is non absorbent. It should not withhold water or absorb water. Now I'm dipping down my beeper on all four sides with the help of masking tape because I like my paintings to have that clean and crisp, clean white edges and running my fingers along to make sure that, you know, the masking tape has stuck to the paper properly. I have quickly grabbed my pencil and my eraser. Now we will be creating a horizon line with the help of our ruler, our scheme. So this horizon line, I am creating almost three fourths of the paper that is towards the last one for the budget of our people. So this is the kind of layout of the painting or the composition now just right, not almost perfectly at the center of the paper, but somewhat at the center. There will be an iceberg that I'm going to create here. I'm going to create your huge chunk of ice blocks basically in the form of mountains. OK, so here you could see that. I'm just outlining. I see mountain block. OK, so that's in a very limited language. And here I am, trying to sketch out the areas of shadows and some cracks and crevices in the iceberg. So when we start, you know, filling it up with paint, it is easier for us to, you know, notice or take into account of all these lines. Are there detailing that we are providing with the pencil skirt so we can adhere to this outlines and go forward when filling it up with color? Now, do not worry, if your pencil sketch is not perfect, this is just a mere representation of the idea that we are going to paint. So now let's get started with Skype, so I'll be going with wet on red technique for this guy. I would ask you guys to refer back to the technique section of this class to understand what exactly is better on. But for those who have just joined and are lazy to go back and check out that section, so I'll just briefly, you know, tell you about why don't read techniques or why don't read technique is basically applying wet paint on your wet people surface or any surface. So your since we are working with water color, your surface is your people's hands, stuff that people. So I hope you have a basic understanding of what went on with technique is all about. As you can see, I'm making sure that my sky area is sufficiently wet enough. For the sky to look very small because we are going to go ahead and do a variegated wash of the sky now, what do I mean by variegated wash? I'll be using two colors to create the gradient wash for the sky. So the first color that I'm using is my brilliant pink. So this is a kind of beast and shade from my Shinhan, our BWC beans. Now you could always go ahead and make your own paste initiated just by mixing white. Gosh, do your are any color? I have switched to my size number eight silver black velvet round brush. Because I need to have little bit more control when I'm going to paint the sky around those iceberg, OK, because I do not want the color to run into the white spaces of that iceberg. Make sure that while doing this step, you are doing it a little carefully as well, as always, make sure that your paper is not drying out soon. If you start to feel that your paper is drying out, what you can do is you can, you know, re-read the areas where you have not been yet. And just, you know, apply a smooth layer or coat of water on it. Not very watery. Just appropriate water should be there so that once you start, you know, creating this gradient blend, your colors should automatically start blending with each other. Now you are. You can see, right? My beeper has already started to dry out, but do not worry, I will fix it back. So I will just go a little quickly over your and I will try to, you know, fill it up with the blue and then we will again go from. Top to bottom. Trying to blend and mix the colors and achieve that perfect gradient blend. Now you can see that, you know, I have this distinct, less clearly visible, so I'll fix that up using my size No. 12 brush. I have taken your my broader brush because it holds more water and color in the tip, as well as more water in its belly. So it will be easier for me to blend these colors out thoroughly, as well as ensuring that there is not too much of water in my brush is the key when you are endured this kind of situation right in the middle of your painting. OK, so this is how you can fix your, you know, these hard edges that you might get when your people start getting dried out. I will go ahead with another layer of this darker tone of blue because this would eventually fade out to be a lot lighter ones, the beeper is completely dried. So before your paper is dried out completely, you should go and do this step. If you feel that your blue has turned already very light, so you need to understand your tonal values of the color. That is why it is a good exercise to switch out your colors right before you are beginning out your painting to understand the tonal intensities your color may have when you are using them, when they are wet and when they go dry. Now, once we are satisfied with this sky, we will move forward and we will start painting those shadows for our iceberg. OK, so we are going to go with the, you know, areas that we had already marked with the help of a pencil. So I am you're trying to mix the color for the shadow areas. I have mixed a little bit of, you know, the violet mineral violet that they have. It's more or less that publish violet, publish pink violet that I have got and I have mixed it with my, you know, ultramarine blue. So now using just the tip of my brush, I'm slowly outlining in broken lines these areas, and now I just try filling it out with the slanted motion of my brush. Remember, here we are going on wet on dry technique, wet being your paint and dry being your people. So you're we want this clear and defined look to our eyes book especially the shadows. That's why we are going with wet and dry mentor to help us get the best results. One important aspect that you must note when going with the wet on dry technique is that whatever you apply are in whatever you. I would say that you apply your brushstrokes. Those strokes are going to get retained on the paper. So it is very essential that you take into account this fact and try to bring it to your advantage creating these, you know, shapes or coverages that you want to give. There's, you know, a kind of left our definition to your icebergs. Now I'm going to dilute the topmost part that we just, you know, painted and I'll diluted and make the color lighter and towards the periphery is the area where we want our darker tones to be. So this is how we will proceed on, you know, creating this high light. Now it's time to create the high for this part of the burg. So I'm you're going with long, elongated strokes, shorter, some longer. So use different variations of your brush strokes to create this, you know, cracks or coverages that you absorb in those icebergs. Observe your reference photo closely to get an idea about this. And in that way, you will be able to, you know, have a picture in your mind that and also plan that how you should go on with your project. Now, this is how we are going to slowly try and create more of the shadows, more of these lines and cracks or crevices that you see on an iceberg just with the help of the tip of my brush. So I'm here using my rendre size number eight, which has very sharp pointed tip in spite of being it all round brush size number eight. That's a speciality of the silver black velvet brushes, and I absolutely love using them. So this is how we are going to go forward and we are going to add and create more of the shadows some lighter, some darker, with different tonal values of our color mix and create this cracks and crevices. So keep watching. Observe this because the entire iceberg will come to life just by creating this, you know, cracks and crevices and filling up the, you know, shadows of the burg, but it's keeping the other areas light as much as possible. Now, to us, the base of the icebergs, I'll be going with the very lighter tone of color as well as in between, I'll add in some darker strokes also like different like I said, different tonal values will give more depth to your painting. So you must always remember to use different tonal values or intensities of your color mix to create the depth in your paintings. Now towards the base, I'll go with a very irregular shape. And this is how we will carry on for the rest of the iceberg. OK, so keep watching it very closely. Yes, you will have to have a little bit of patience, but trust me at the end, you will just love it. 6. Day 1: Pastel Sunrise from Iceberg: Part 2: Let's continue building our layers. Now what is layering or glazing techniques? So when you build little by little layers in your watercolor paintings, that is known as glazing on layering technique. Now if you can see my brush is not too loaded with water. I am just using the lightest tonal value of my pigment. And if I feel that my brush may have some extra water in its belly, what I do is I will use my tissue Tavern or tissue paper to soak off the extra water that is there in my brush. So it is very imperative that you understand the exact water control that you need to exercise when you are doing this layering technique. Because if you are working on wet-on-dry, right? So if the background is too wet, it will almost be wet on wet technique and you will not be able to achieve the layers that you are trying to build, thus creating the effect of different layers on the paper. So on wet-on-wet, everything will get spread smoothly and evenly and hence the entire point of this layering technique will fail. You can see right, How would the help of glazing technique? I am building character to the shadows and each time that I'm letting the layer dry off, it is giving another depth to this shadows. Now to outline the cracks and crevices of this Burg, I'm going ahead and using the dry brush technique. You're again, in dry brush technique. Your brush should be absolutely dry and you just should be scraping of the paint pigment that is there in your palette. Bear in mind if your paint is loaded with too much of water, makes sure that you so-called the extra water that you just loaded with your brush so that you achieve this dry brush strokes properly. Now to this left side, I will add this slight tonal value of this ultramarine blue mix that I have to indicate that that's the paper white that we are preserving. And also in the technique section I have shown you how you can preserve this whites of your paper, even if there is a light amount of colour present in your paper against a dark background. I will go ahead and add in some more dry brush patterns to our book so that it becomes visually more appealing. Now I was not satisfied with the tonal value of that shadow idea. So I went ahead and applied some more darker mix of that value, the color shade that I had used earlier, that was a mix of ultramarine blue and little bit of mineral valid. Remember that we had used, I just darkened it a bit and that's all I think for the iceberg, I'm really satisfied. And I'm darkening the cracks and crevices a bit more so that it gives that highlight. The entire Berg comes to life. We lead this area's get dried properly and we will be starting out with a C. So for the sea, We will be exactly mimicking or replicating the colors of the sky. Beyond the horizon line, we will go ahead with the pink. And now you can see I'm trying to tape down my washi tape. Washi tape. I think there is some problem with the gum. It's coming out again and again. It's becoming little problematic for me because I don't want the colors to run out or leaked through the unit tape, ruining the clean edges of the paper. So anyways, I'm trying to try to work it out. Okay. I have started layering the colors on the paper. And you can see right for the C, I'm going on wet-on-dry technique because the white part or the white for me part, which may represent the icebergs, floating ice chunks in the sea. I want to represent them with the white of the paper. That is why I'm going ahead with this wet-on-dry technique where my brushes unloading the paint off the paper, it is producing friction in the paper and creating those dry brush technique. So this is how we're going to paint our C. And along the horizon line, I would want you to be little careful about the amount of water that you have in your brush because if you have excess amount of water, it may run into your sky which you do not want, and there may be an ugly patch of color over there. So you want to avoid that at any cost. So please exercise water control in your brush when you are doing this step. This is taking little time but hold onto your patients. You may use a brush which has a fat belly. So I will maybe switch to my broader round brush, that size number 12 brush very soon. I will try to diffuse those layers as this that I was talking about earlier. So I just simply use the belly of the brush to load the pigment onto your onto the paper and smear it across. But make sure that you retain those dry brush patterns there at the center. Now with the help of white gouache, we will be creating small, small floating icebergs in and around the main berg that is standing tall with the help of a synthetic brush because I want to exercise little water control over so that my what gouache makes us not too watery. I'll go ahead and create dry brush strokes with the help of my synthetic round brush size number four. And this is how we can create small, smaller shape to icebergs in and around. Just it's very simple. You can go ahead with little bit of small projections. Are your options just like how you would paint, see waves, right? Just like that. You go ahead and do this step and yes, he will be done after your paper has dried out completely. Now it's time to peel off our washi tapes or masking tapes from all the full site. You'll need not do this step if you have not tape down your paper or if you are directly painting on a sketchbook, this is not necessary. But yeah, if you want to have this clean, smooth the edges of white, then maybe masking tape or washi tape is necessary. You can see how the paint has leaked through my masking tape or the washi tape that I was using. So here is a tip to quickly fix it. Use your white gouache in a thick consistency to cover this up. And yes, you will have those white clean edges again. 13. Thank you for joining : Thank you so much guys for taking this class with me and painting along. I hope you have loved this class. If you have really loved the way I have taught in this class, please do post a review. It would really mean and help my class to reach a greater audience. Also do upload your class projects in the projects gallery section, we would all love to take a look at each other's work and appreciate. If you are uploading the projects on social media like Instagram, then please do tag me. I would love to reshared the works on my stories until then, stay safe. Happy painting.