Loose & Luminous Watercolor: Create Atmospheric Mini Landscapes

1. Introduction: This short, playful class, we're going to explore how to create atmospheric mini landscapes in a loose watercolor technique with a touch of detail added with colored pencils. Hi, I'm Julia, a nature sketcher and illustrator. And in this class, you'll learn how to create playful, simple landscapes without fussing too much or spending hours on a painting and to create stunning luminous effects with just a few brush strokes. We'll start with loose wet on wet washes, and we'll learn more about how the pigments in your palette interact and how you can create stunning light effects by combining colors and letting them flow together naturally. Sunrise, fog or back light can create a unique mood and atmosphere with beautiful color combinations, and we'll explore how you can capture this luminosity directly on the paper in a playful approach. You'll learn how to create these effects without overworking your sketch or creating muddy colors with just a minimal palette and a round brush. In a second step, we'll adjust the base layer with more loose watercolor washes, and we'll finish with a bit of colored pencil for texture and to pull it all together and add a few details. At the end of this short and beginner friendly class, you'll have a unique mini landscape that captures a special mood with lots of light and atmosphere. So I hope you'll join me for this fun class, and let's dive right in. 2. Your project: Your project is to create a mini landscape painting with the techniques shown in this class and you can use a minimal palette and then add accents with colored pencils. It's best to do a small warm up before creating a project to learn more about the mixing capabilities of your palette and learn how to create those pleasing color combinations. I'll walk you through all of these steps for the warm up and then for the landscapes. You can follow along with me or use your own images for the landscape. I will paint three different types of landscapes in this class. I have added some references to help you get started in a PDF file in the resources section. Then in the project section, upload a photo of your small landscape and your mixing warm up if you like, and also you could mention the pigments you use or anything you learned or found insightful during the painting process. 3. Tools You Need: Let's take a quick look at the tools you're going to need for this class. It's just very basic watercolor supplies, nothing fancy here. I have this watercolor palette with just some basic colors. I use no more than nine pigments for this class. Let's go through them very quickly. I have my warm yellow, then cool pink or cool red, warm red, then a light blue and slightly darker blue, cerulean and cobalt blue. I have ultramreen violet, then my sap green, a yellow ochre and burnt sienna a two earth colors, and this is really all. I have added a PDF with the exact pigments that I use in the reference section. You don't need the exact same colors. This is just to give you an idea for what a minimal balance pallet would look like that works well for landscape sketching. Then I will use a big round brush that holds a lot of water. I like these mop brushes that can also form a very fine tip. This is actually the biggest mop brush that you could bring. I thought because we were painting quite a small landscapes, it would be fine to use the smaller brush. If you don't have a mop brush, you could also just use any kind of slightly bigger round brush bed will form a nice tip at the end. I have cut these pieces of cold pressed watercolor paper in a landscape format that makes it nice for landscapes. Cold press is also good for a bit more prominent texturing of your watercolor washes, you will get these really interesting granulation effects when the pigment settles into the creases of the cold press paper. But really any watercolor paper that you have will do also use a sketchbook. And then I have a few colored pencils in my selection. It doesn't really matter which brand you use. For this class, I will use non water soluble pencils so that I can create lines that will not disappear when I add watercolor on top of them. This is optional. I use washi tape or artist tape to tape down the edges of my paper and this will give you nice clean edges and create a natural framing for the landscape sketch. I find this is a very nice effect. It doesn't always work with every tape, so you can see the paint seeps through a bit here, but I actually find this quite charming and this natural frame is still in place. 4. Warm Up & Key Concepts: So let's jump directly into our warm up exercise. I am preparing my paper with washy tape here so that I can get nice clean edges and these sort of rectangles that I can use for my different colors for the warm up. This step is entirely optional. You can do this in any way you want, but I like the look of this, so I take the time to create these rectangles with tape. Now, I spray down my palette with a bit of water so that I can pick up the pigments a bit more easily. Now, I have nine nice rectangles for my warm up, and what I want you to focus on in this exercise is to get a little bit familiar with the pigments in your palette to explore mixes and different color combinations that you can do and also ways to create an interesting wet on wet effect and see how the different pigments react and combine with each other. So I've started with my cerulean blue here with quite the watery light mix, and I'm adding in a bit of yellow and yellow ochre, a bit stronger at the bottom. And then I'm also introducing some cobalt blue. And I'm careful not to let these touch too much because as you can see, the colors like to flow into each other as long as there is some water. We're going to let them do that. This is an exercise this is to study for how the pigments react. So from the color selection that I used, you could say this is a very simple landscape, a blue sky with some yellow at the bottom, which if you look at morning skies, this is often the color distribution. And then we have a blue hill in the background. So this is just a very loose exploration of what such a simple landscape could look like. Now I've mixed up some violet here with my pink, my cool red, and then blue. I'm introducing a bit more blue, and so this could be an interesting. I don't know a sunset or a sun rise. I'm also introducing a little bit of yellow ochre, some warmth at the bottom. This is just for playing around and seeing how the colors can interact and trying to let the paint do its thing and dropping in pigment here and there. This is why I find it's really beneficial that you limit the amount of pigments of colors that you have in your palette because you can study the effects a little bit better. You can see I'm almost always starting with the blue at the top because this is given in a landscape, and then I'm going for a bit more warmth at the bottom. Trying out what happens when I introduce this strong red color here. Burnt sienna at the bottom, this could be a field or something like that, and make it a little bit stronger with my warm red. What happens if I drop in this really concentrated red pigment, so I'm just trying out different concentrations of paint, different amounts of water in different places. And I don't want to add too much manipulation. I don't want to go back in with my brush and lift out pigment and then drop in additional pigment because this will quite likely end up muddy. You can see for this little rectangle, I'm adding the water first, and I'm exploring what happens if I add the pigment afterwards. So it flows nicely. I spreads everywhere where there's water, and we have this nice yellowish green here, yellow ochre and my sap green. These could be hills. And then I'm thinking of some kind of sky. This is maybe even a cloudy, darker sky with a bit of a neutral gray, a bit of blue. So again, I'm trying to not let these touch too much because then the colors will just flow into each other, like you can see here with the green accents at the bottom. And for the next one, I'm thinking maybe I can introduce a slightly darker, more dramatic color. So I'm starting with my cobalt blue, slightly darker blue, and I'm adding a bit of water to create more breathing space for the pigment to spread into. And from time to time, you'll want to clean your palette, especially if you have minimal mixing space on it. So I'm just exploring. You can already see a little bit how the color will turn out in your mixing area. So I'm going for this very intense warm red here. And I want to make this darker somehow. So I'm mixing cobalt blue and burnt sienna for this really dark foreground. And you can see this pushes the rest of the pigment into the sky into the blue area. And I find it really creates a really interesting dramatic effect to have this red, yellow ochre and the dark area in the foreground. So um, yeah, I'm not sure how any of these will look when they're dry. We'll take a look at that later. But it's these kind of color explorations that I find to be really interesting, really fascinating. So I'm continuing the trend with slightly darker, more dramatic colors. These could be maybe clouds. So I have this dark blue. I have added more burnt sienna. Now my yellow ochre wants to join the brush and run off with it. So I have these really dark clouds, maybe clouds over a field. I'm introducing a little bit of green in the foreground, and then I'm trying to add water at the top to see what this will look like when there's more water when this dries. So if you want add notes to these little explorations, because very likely you will not remember what kind of pigments of paints you used when you look at this later. Again, here I'm adding a bit of water before I add pigment, and I'm starting with a slightly warmed up yellow. So my warm yellow then a little bit of yellow ochre around that. Makes it even more luminous. And for the foreground, I think a complimentary contrast would work fine. Yellow and violet are really nice together, and of course, this is a slightly subdued version. The mix is quite watery, so I'm mixing up a slightly darker version of it, and then I just drop in a big fat blob of pigment. So our watercolor always dries a bit lighter. Then what you can see when you put down the pigment. So don't be afraid to put down a lot of it. This is also what this exercise is for to study how different the paint can look when you put it down, when it's still wet versus when it has dried. I think I'm experimenting, too. I'm putting down a little bit of red, and then I decide I don't really like that and carefully lift out the pigment again, which you can absolutely do as long as it's wet. Don't do this too often. So usually you can see when you've manipulated the paint layer too much, and this takes away a little bit of the spontaneity and of the fun of doing this. So here we have another combination, this sort of violet sky at the top, and then there nice warm green, maybe a hillside, something like that, and I just let the pigments mingle, drop in a few additional darker greens here and there for some foreground elements. I have no idea how this will turn out later, but that's the fun of it. This is just what I want to encourage you to do just try to create different light effects. You can use the references I have added in the PDF here, so you don't have to invent any lighting situations or landscapes from scratch. You can absolutely use these references. I did this too. And so for the last one, I think I'll return to these kind of interesting sunset or sunrise lightings with this warm golden light at the top. And then maybe some red, some oranges, these really beautiful, intense sunset tones that make these kind of lighting situations so interesting and a bit of neutralization, a bit of blue with a touch of violet here. And again, don't focus on any details. Don't fiddle too much with your brush. Just let the pigments flow, let it dry, and then see later what you like about it and what you maybe want to approach differently next time. So here's our finished warmup page when it's dry, and some of these already look like small landscapes and only maybe need a few touches here and there with colored pencil. Some of these look a bit too colorful to my liking. But that's fine. We experiment and explore at this stage. So I really enjoy some of the neutrals that have developed here on their own just by letting the colors flow together. And now I find some of these effects really interesting and pleasing, and I see how I can recreate them in my bigger landscape sketches. 5. Demo 01 Cityscape: So for my first landscape, I want to try out something rather simple. I've chosen this lovely view of a city at dawn, I believe this is Venice. So what I liked during the warm ups was this combination of light blue sky, and then these light effects like this, soft pink, soft yellows and oranges. And yeah, it can take a bit of practice to get these rosy colors right. I'm using a lot of water here. I'm also using more blue at the bottom here. You can see there are reflections in the water. So this is something that works really well for the wet and wet technique. So I can just drop in a little bit more pigment, slightly more pink. And then let the watercolor do its thing. Now I'm thinking about how I can introduce an accent, maybe in the lower right. So I just want to give this a bit more stability. And I think the yellow ochre will be a nice touch. Just this edge of the painting, and it can even be reflected in some of the areas where we have those pink light effects. So these sunset or sunrise colors, sometimes you can't really tell them apart. These create these interesting atmospheric effects where you have a lot of sky, a lot of red in the sky in the otherwise blue or grayish sky. You can see now it has dried, it has spread around a little bit at the edges, which I don't mind. It's rather charming, I think. You can see how much of the intensity has really gone away, but I rather like this very soft and muted effect. This will be our backdrop, and now we can think about what kind of color this cityscape needs. I want to keep it really loose. I don't want to add too much detail. I'm using this big brush that I use for everything here. And I'm going for this quite neutral color. So blue and warm red here. With a cobalt blue, you can mix up all kinds of interesting combinations. Cobalt blue, vermilion, and yellow ochre can make for a really nice versatile neutral mix. You can see I'm starting here with the mix leaning more into red and I'm just adding those little areas in the background, and now I'm painting in those big buildings in the foreground. I'm not thinking about any individual buildings here, but rather about the silhouette, the entire shape of all of the buildings. Of course, I need to include the round dome of the cathedral here. And as I paint in those big shapes, I'm sort of switching up my color mix here, my neutron mix. So I'm introducing a bit more blue, a bit more red, just depending on what I feel might look nice. You don't even have to do this based on any light effects you can see, but you can certainly include this. So if there are color hints in your reference, then absolutely pick them up. But don't focus on any details here. Just maybe squint a little at your reference and then go from there. So there's the second smaller dome. And you can see I can put down fine lines with my brush, but this bigger brush forces me to really stay with the big shapes here. And I can add in a little bit of light from some of the windows, have reflections, and I can add this by just leaving out a bit of color. And on the right, I don't want to continue this silhouette that I can see in the reference, but rather have it sort of peter out a little bit. Then we can also see some reflections on the water. I just adding a few of those to indicate that indeed there's water in the lower third of my sketch. And now, this is my detail stage with a brush here. So I'm adding and refining a few of the edges, and I'm adding in a few of those little dots, those little touches. And with all of these brush strokes, I try to keep them loose and spontaneous. I don't want them to look too labored or forced or anything. So I think this is enough before I start overdoing things. I'm going to leave this to dry, and then we'll come back and add some details. Now it's time to get out the colored pencils. And I've chosen this dark violet here, which I think complements the existing colors very nicely. So we have the background with this soft sky effect. Then we have our dark neutral, which is quite dark, actually. I thought it would dry a little bit lighter, but nothing to worry about. We can adapt this and fix this a bit. And now I can bring out the windows of the cathedral and some of the contrasty lines of the buildings in the foreground. Nothing too detailed. We still want this to look very fresh and spontaneous. So we don't want to spend hours on the window sills in the front buildings. This is not what this painting is about. It's supposed to be about this light situation, about this interesting atmospheric effect. So I'm just adding a few interesting lines and dots here and there that might help to bring a little bit more visual interest, some boats in the foreground. And yeah, you don't have to spend too much time on this. And then maybe some boats on the right side too. And then I'm switching my color. I need to make this a little bit lighter. And for this, colored pencils are really great because if your watercolor layer is dry, so you need to let it thoroughly dry, and then you can work with the textures of the colored pencil. I'm using this light pink here, this kind of rosy pink to reinforce the soft pink light that I can see in the reflections. You can actually see this on the very right side of the reference image. There's a little bit of this sunrise rosy color reflected in the buildings, and I'm exaggerating this a little bit on the rest of my silhouette here. And just to introduce a little bit more of this light, I'm also using this very light blue colored pencil to bring back a bit of the luminosity that I think was lost in the very dark watercolor silhouette. So I'm not even spending too much time looking at my reference here. I'm trying to think about where I can really use those accents. And then because this is sunlight and also has some yellows, I'm also using this warm yellow here and add a few accents with that. So this is a playful process, not a science. So yeah, try to enjoy this, try to experiment and explore where you can place those little colorful accents and where they will actually help to bring out the intricacies of the light situation that you have. And as you can see, it doesn't have to be much. You don't have to overdo it. This will preserve, so to speak, the freshness and the spontaneity of the painting. And I think this is it. So this is our first sketch our lovely cityscape at sunrise. And I think this turned out quite charming with the slightly fuzzy edges and this beautiful, soft atmosphere and light. 6. Demo 02 Hills in Fog: For the next landscape, I want to sketch some hills with a lot of fog and atmospheric effects, and I'm going to be using two different references for this. Don't be afraid to combine several reference images into one. And in this case, I want to use sort of the big shapes from the first reference that you can see here, but I found it a bit lacking in color, so I'm going to sort of pull the color from another photo that I have. I'm just concentrating on those interesting overlapping shapes here. These add a lot of depth, a lot of a sense of distance to my sketch already. I'm just trying to figure out how I can create some interesting overlaps and layers in my sketch. I'm also trying to already add some little details to this sketch. Although I have to restrain myself. I want to reserve this step for the last stage. So for this kind of preliminary line work, you can play around with the colors. Think about what happens to the intensity of the color. If it recedes in the back, it usually is lighter, has less contrast. So now you can see I've chosen this nice photo of the alps for my color reference, and I intend not to follow it too closely, which is maybe bad for this demonstration, but maybe it's also a good thing because I've decided to treat this rather loosely. So uh, we have gray in the sky, and we have also these kinds of blues and muted violets in the back of the mountain range there, and I've decided I want to incorporate both of these colors and bring them out a little bit more. So still subtle enough. You can see I'm adding lots of water here. I'm also adding a slight bit of red. So my vermilion red, then cerulean blue and a bit of cobalt blue and a bit of my violet. And now I'm mixing up a nice soft blue green with my sap green and the cerulean, and I'm just putting in some brush strokes. So I'm not even thinking about filling everything up with pigment with wash, but I'm just dropping in a pigment into a few areas. Here, I'm leaving lots of white space in between. And this gives this watercolor wash a nice loose quality. So you don't always have to fill up everything with paint. You don't have to paint everything that's defined by a line or by a shape, and I'm even lifting out some of the pigment I just put down with my painting rack. So I found there it was a little bit too dense for me. And I'm trying to think about how I can intensify the areas in the front. So I'm adding in more pigment and try to let this flow into each other. So preserving this loose spontaneous quality of the sketch. And I think this is a good place to let it dry. And you can see now that we already have a little landscape here. So we have our loose lines. Maybe I'll reinforce some of them now in the second or third stage, and we have our colors in place. And this is really from a watercolor perspective, all that we need. And now I want to try and add in some of those clouds. I didn't try to define them with my watercolors because I felt this would have led to a lot of overworking brush work. And this was really my attempt to keep it loose with watercolors in the sky, and then I can go back in with my colored pencils and add some of the details that I want. So I feel some of the outlines of the hills are not really clear enough, and obviously, they need to be a bit stronger in the foreground. So this is one of the effects you can often see with landscape, this atmospheric perspective where you can see more contrast and more details in the foreground, and then it's sort of fading into the distance into less contrasty areas, less color in the background. And this is what we can sort of replicate in our little sketch. Also reaching for these kind of cool colors there for the background to add some interesting contrast to my red. And now I think it's a good time to think about some textural details for those front hills. So in my reference, there's a lot of grass. I don't want to draw in every single grass blade and every single leaf of the trees that I can see, but I want to give an impression of these textures and these details. And I'm taking a lot of liberties with this, so I'm not even following the reference very closely. And as with my minimal palette of watercolors, this limited selection of colored pencils will force me to go into the abstract a little bit more to really adapt what I see and not follow it too closely. If that makes any sense at all. So I still want to show some of the dark trees that I have in my reference, but I'm not interested in drawing in meticulously all of the shapes that I can see. And instead, I take some color cues from all of the colors in the meadow I can see in the foreground. So some of the golden yellow, dark red, and I add those interesting little scribbles here and there in the hope that this will be visually interesting for the viewer. Little bit of this muted pink. It's also an interesting color contrast with the green. So I'm more thinking about the visual quality of the sketch that I want to achieve and not so much about this reference, which is, if you want to follow the reference more closely, that's totally cool. That makes a lot of sense, especially if you're just starting with this, but you don't need to do it if you don't want to. Just try to enjoy this process and have a little bit of fun with the tools that you have. And I'm also introducing the same color in different areas of my sketch. So like this light yellow and the blue, try to repeat a few of those colors throughout this sketch to pull it together a little bit more. Yeah, I'm actually not too sure about all of these lines, these textures there in the middle ground. I think there is a bit later where I remove some of them. I actually erase them and take a bit of the definition back. So this is also something that you can experiment with. So how defined does a landscape really need to be in the background? I think, especially in the middle there, it's become a bit busy, but that's just me. And usually with landscapes and this effect of atmospheric perspective, you will go from warm colors in the foreground to cooler colors in the background. This is usually what it looks like. You can see this in the reference, too. So we have these beautiful warm greens and yellows and reds are more prominent in the foreground, and then due to these particles in the air you will see more blues and violets and these cooler greens in the background. There, you can see me erase a part of these lines. I thought they were interfering with the clouds that I drew earlier. So I'm restating one of my outlines a bit and then adding a little bit of this violet here. Back in to define the hills a bit more. So overall, I'm quite pleased with how this turned out. I like the color contrast and the amount of details in the foreground. And now I'm also ready to remove the tape. This is always a very satisfying moment. And here is our finished sketch of our Hills. 7. Demo 03 River at Dawn: For this sketch, I want to explore something a bit more colorful. We have this beautiful morning scene here with a river meandering through the landscape and a little bit of fog and lots of interesting light effects, very atmospheric. Yeah, very interesting to do. And you might think that there's a lot of gray, muddy, undefined color in this reference image, but we will try to get to introduce a little bit more color into this very soon. Again, I'm defining a few of the outlines here. I'm spending a little bit of time with the shape of the river and also a few of those background trees here. This doesn't have to be the first step, so I could easily leave it at that and then come back to the trees later. But I felt this was a good opportunity to define some of the shapes here. Uh, yeah, you could also start with the watercolor stage or just leave it at those few outlines maybe for the river. And I'm using this interesting muted dark red here. I think this has a beautiful component. It has some of the red that I can see in my reference, but it's also not too bright and doesn't take away from the colors that I'm about to introduce. So I think this is good for our sketching stage, and I'm really eager to get started with my watercolors now. So let's see. I have to mix a beautiful light color for the sky, so I don't want to make this too dark. Just a little bit of cerulean blue dropped in here. And since we have the sun rising on the red side of the photo, I want to leave it at that and then rather paint in that light effect of the rising sun. So I don't want. The blue and the yellow shouldn't mingle too much because then they will turn green. I'm painting around the sun. Because this is the brightest area of my sketch. You can see I just introduced some yellow ochre. It was a bit too much on my brush. So I dialed it down a bit. And now I'm just adding a lot of water. I want to spread out the pigment. I want to create this sort of glowing light effect. And back there, where the horizon line is, I can see this muted purple. So where I defined those trees, I introduce a little bit of red, and I put down a bit of pigment, adding more burnt sienna, a little bit of blue to create this neutral color for the background there. For this sketch, I think I really want to try and push it and find out how much color I can get away with. I'm introducing quite the bright red here, even though it's the background and it should probably be a bit more muted, but we have all of those interesting sunrise light effects going on there. I'm also adding a little bit of my sap green to the mix, now there's very light warm green. I'm imagining as the sun comes up, it falls onto those fields onto the grassland, and there's there are different colors interacting with each other, the red and yellow from the sunlight and then the green, which is the actual color of the area. And I'm painting around the river because that's another area that's very light, so I don't want to overpaint it. And with all of that, I'm also trying to keep it loose, not to just slap paint everywhere. And admittedly, that's a bit hard for these kind of more complex scenes like this. So I need to make sure that I actually define where the river is and where the sun is. And yeah, I still want to preserve a little bit of the looseness, and you can see that I actually left a few highlights there in my image. I'm defining the roundness, the round orb of the sun, just touch more. And I think this is actually a good place to leave it with the watercolor washes. Maybe just a touch. I'm not sure what I will do with the river because just like now, it's a little bit too light. So I'm introducing this very light red in a few places. You can see the existing wash Watercolor will just flow into it, and I think this gives a few, very interesting effects. So with this all in place, I think it looks really wild. And yeah, I'm really interested to see what this looks like when it has dried. Obviously, it will be a bit more muted, but very interesting color combinations here. Okay, this is dry, and I'm actually going for a second watercolor layer here. We haven't had this yet. I'm mixing up a little bit of this red blue mix again for the trees in the background because I think they should be quite soft, and I can achieve this better with my brush than with the colored pencil. So I already have those outlines in place, and I can just go over this with my red and slight bit of blue added in. And the further I am away from the sunlight, the more neutral those tree outlines can be. And since we want to keep this all cohesive and together, we can use the same mix for those trees those tree silhouettes in the foreground. So I'm just dabbing in paint. I'm following the outlines that I already have. I'm not trying to think too much about the actual outlines that I can see in my reference. I'm trying to make sense of this within the sketch that I'm painting. And this red that I just added, it's maybe a little bit too intense, but yeah, let's see what happens. Sometimes you have to do these experiments on paper in your sketch, and sometimes they succeed and sometimes they fail. So I'm going back to my colored pencil here to redefine the outlines of the river a bit more. I think this will really help with the overall structure of the sketch. And then I think we have to let this dry first before I add more colored pencil. This is always very important step. You have to let this a watercolor layer thoroughly dry because otherwise you won't have enough how shall I put it, gripping strength, or the pencil will just glide over the moist watercolor paper if it's not really dry. You won't get these textural effects. So now I'm redefining a few of the elements in the middle ground there. I want to bring out the rays of the sun, so I'm adding those interesting lines that could be from fields or maybe just the sunlight, and I'm using those warmer colors here. So warm yellow, this rose pink, and then also slightly lighter yellow to reinforce this yellow, this sunshine that's slowly coming up on this beautiful landscape. And I think this bright green also matches the atmosphere really well. It goes with what is already there from the watercolor wash. Again, you don't have to follow the reference too closely, but it makes sense to take a good look and see what this light effects, how it affects the colors around it, how it changes the landscape. And in the foreground here you can see there is less sunlight, so we have a few shadows. Those can be a bit cooler and darker. So I try finding that will match the overall quality of light, if that makes any sense and that will complement each other nicely. And sometimes you will also want a little bit of contrast. So maybe put a red and a green together or a yellow and a purple. So make use of these complimentary colors and these contrast if you like. And in the foreground, I can see a lot of texture in my reference, and I want to reflect that in my sketch. So I'm adding all kinds of interesting and fun little textures here, different colors because, you know, why not? The sketch is already quite colorful, so I think it can't hurt to just introduce all of these colors that I already have in there to those other areas of the sketch. And it should be fun to do. I really enjoyed drawing and painting this. So I hope you can see this reflected somehow in my approach. Yeah, I think, at this point, I'm basically done. I don't want to overdo it. It's always difficult to stop, but, yeah, I think we can remove the tape and enjoy our beautiful morning scene with the river. This is the finished sketch. I'm really pleased with how this turned out. And 8. Final thoughts: I hope you've gotten some helpful ideas for creating loose and luminous watercolor landscapes with lots of atmosphere and also how you can play around with the different pigments to combine them to achieve light effects. For me, the combination of colored pencil and watercolor gives a good balance between precision and loose brush strokes so that I can get a landscape down on paper quite quickly without spending endless hours rendering details. So I hope you've enjoyed this combination of playing with wet on wet techniques and learning about how the pigments in your palette interact to create those stunning light effects. Let me know what you thought of the class, leave a short review. And, of course, I'd love to see your luminous landscapes in the project section. So thank you for taking this class, and I'll see you very soon. Bye.