Monochrome Painting: Take Your Watercolor Skills to the Next Level

1. Welcome to Class!: Have you ever tried monochrome painting? I find it to be one of the most beneficial exercises for beginners and even advanced artists. It's amazing how such a simple and easy technique can help improve your understanding of colors, tones, gradients, composition, and lines. But what is monochrome painting actually? A monochrome or monochromatic painting is one created using only one color. It is often applied to convey simplicity and peacefulness. It droves focus to the subject of the painting. By using just one color, you automatically create a feeling of harmony and balance in your work. It is a powerful technique that will help you to take your skills to the next level, and make a deeper impact on your audience. I'm here to share with you my approach to this simple but very effective artistic style. Hello my creative friends. My name is Selena and I'm a watercolor artist based in Bulgaria. I love to try and experiment with different mediums, but watercolors are my biggest passion. For the last five years, I've been painting almost every day. I'm constantly striving to improve my skills by trying new techniques and subjects, taking different classes and learning from inspiring artists all over the world. It's an amazing journey that never stops to inspire me and one of the best things about it is that I get to share my knowledge with my wonderful students. Being a teacher has been one of the most fulfilling experiences I have ever had and I'm always thrilled to turn my recent discoveries and insights into a class. This class is all about monochrome painting with watercolor and most probably you are already eager to start, so let me tell you what you will learn. I have prepared for you very simple and easy exercises, each one helping you with the certain a aspect of monochrome painting and preparing you for finding the final project. After completing them, you will know how to pick the right color for your monochromatic painting, how to paint small as self backgrounds that will match its mode, how to master a wet-in-wet technique so that you're always in control of how the paint is spreading on your paper and how to create contrast using different tones and textures. Finally, we'll create together a compelling and evocative painting using all the techniques you have learned in the class. No matter if you've been painting with watercolors for a few weeks or several months, this class will surely give you some valuable insights and will inspire you to continue to learn more. I am so excited to share all this with you. Let's get started. In the next video, I will tell you more about the cluster vector and the final project. See you there. 2. Class + Project Overview: In this video, I will give you a quick overview of the class structure and the final project. We'll start by going over the materials that you need in order to complete the class. I will show you all my favorite supplies and will give you some options. Next, I'll pay special attention to the colors that can be used. This is a crucial part of any monochrome painting as there is only one color that is used to create the entire artwork. I will show you how we can test the colors that you already have available and find the ones that will give you the best results. Next, we'll use this color to create a soft and seamless gradient background. Its simplicity will add to the minimalistic vibe of your painting and it's an essential watercolor technique to have under your belt. Another fundamental skill is mastering the weighting way play of colors on the paper, and we'll practice that in a separate exercise. Finally, we will learn how to add eye-catching details that great contrast. In our case, that will be natural-looking textures and realistic branches. For the final project in this class, you'll create a beautiful and compelling painting in monochrome. I have separated the process into different sections and I'll be explaining each step, solidifying all the lessons that you have previously learned in the class. I'll give you some tips and tricks along the way. I did my best to make the entire process beginner-friendly so that you can just relax and enjoy painting this peaceful and color mixing. If that sounds good to you, meet me in the next video where I will tell you more about the materials that you'll need in order to complete the class. 3. Materials: In this video, I'll tell you more about the materials that I will be using in this class. It's not necessary to have exactly the same materials, just use what you already have available. I will start with the paints. Since we are going to paint a monochrome painting in this class, you will only need one color. For my painting, I chose this indigo from Art Philosophy. I love to use it for monochrome paintings, especially for winter landscapes. Indigo color from any brand will work. You can also use Payne's gray, sepia or whatever color you prefer. Just make sure it is a color that has dark value. I will explain more about that in the next video. If you're not sure which color to use, you can decide after watching it. I have squeezed some of that tube into my palette here, so sometimes I will just take it from the pan because it's quicker and easier. You can use the tube or pen, it doesn't matter. I will use this ceramic palette to mix my paint with water. You can use a dinner plate, plastic palette, or whatever else you have available. I like to use ceramic palette because they're easier to clean. For brushes, I will use my Schimoni Art brushes. For the large areas I will use these quill Size 5. It's synthetic squirrel and it is very soft, which will help me achieve a smooth background. You can use your biggest ends of this brush for that. Next is this round Size 6. It is stiffer and it doesn't hold as much water, so it's perfect for whenever you want to take more concentrated paint or a smaller detail. Finally, this rigger Size 8, I will use it for the branches of the tree. It has very long bristles which will make the process easier and the branches will look more natural. We will have a separate video about the branches. But if you don't have a rigger or a liner brush, you can use the thinnest brush you have available. Actually, I will use one more brush and that is this mottler, it has very soft hairs and it holds a lot of water, so it's very useful for large areas. I will use it to wet my entire sheet of paper, but it can also be used for large washes and soft background. I will use this silicone shaper to apply the masking fluid as it can be really bad for your brushes, we'll need it for the tree trunk. If you're not familiar with masking fluid, this is a liquid that you can apply to the paper and after it dries, you can go with watercolor on top of it. It will preserve the white area underneath and you can remove it after you're finished with the paint. Since we don't paint with white in watercolors, it is very useful to apply, even necessary sometimes if you don't have masking fluid, you can try adding white gouache at the end. It will look a bit different, but still it will be nice. Let's move on to the paper. For the exercises, I will use these Fabriano Artistico. It is 300 GSM and 100 percent cotton paper. For the final project, I will use my favorite paper, Saunders Waterford. It is again 300 GSM and 100 percent cotton. If you don't have 100 percent cotton paper, you can still use cellulose paper. But keep in mind that some of the techniques won't work the same way and probably it will be harder for you to achieve the same results. I will tape my sheet of paper to this board using paper tape. You will need a pencil and an eraser for the sketch. You may see me using this bottle spray to activate the paint in my palette, it's just water that is inside. You will need two jars of water, preferably, one to rinse off your brush, and another for when we need clean water. Finally, a cotton or paper towel to take off the excess moisture from your brush. Gather your supplies and I will see you in the next video when we'll talk more about the colors that are suitable for this class and any monochrome painting. 4. Colors: Welcome back. In this video, we will explore the different colors that we can use for monochrome painting. If you haven't chosen your color for the final project, this video can help you to select. Getting back to the definition of monochrome painting, this is a painting when only one color is used, but we use its different values. The value or tone of color is basically its lightness or darkness. Let's take the color that I will use today indigo. If I want to use its darkest value, I will have to take it in its most concentrated. I'm just wetting my brush without loading it with water and I will take some of this paint that I just squeezed out of my tube. If you use pans, you will need to activate the paint inside with as less water as possible. We want to keep the paint thick and concentrated. In this case, I get this very dark and very intense color. It's almost black. This is the darkest value of my color. Next, I will wash my brush and this time I won't be quizzing the water out of it on the rim of my water jar. Instead, I will add it to the paint in my palette in this way, I'm diluting it and getting a lighter value of the same color. This one is more transparent and we can now clearly see that it's blue. I will repeat this step once again to get a lighter value. This one is pretty wide, and one last time for the lightest one. Now we have a pretty good idea for different values this color can give us. We have one that is almost dark and by adding a lot of water to it, we can also make it look almost white or transparent. This means that this color is perfect for monochrome painting, as we'll be able to achieve nice contrast between the different values and our painting will have depth and it will be visually pleasing. If you are ever in doubt about the values you are looking at, you can switch the black and white mode. Th s way you'll be able to clearly seethe difference between the different values. Now, let's try this with another color for my palette. This time, I will use burnt umber. I'm repeating the same process, I take very concentrated paint and I add more and more water to it until I get this almost white color. Of course, black is also a color that can get you a nice variation of values. Its darkest value is of course, the darkest color, and because it is watercolor, we can make it almost white by adding more and more water and making it transparent so that the white of the paper is central. The thing about black though, is that it's a bit boring in watercolor, so I suggest using another color if you can. What happens if we take yellow for example? We can also use it in its thickest consistency and dilute it with enough water, so that we get this almost white tone. But let's check the tonal range by switching to black and white again. It is now obvious how much lighter the yellow is than the other colors, even in its darkest tone. This means we won't be able to achieve depth and a nice contrast with it, if we use only yellow in our painting. Let's try one last color which is bright red, it is intense color, so you might think that it's a good choice for an interesting monochromatic painting. But even though its darker tone is darker than the yellow, it's still much lighter than the top three options. We can use this exercise to check some of your favorite colors and decide on the color that you'll use in this class. You can also take the color in its thickest consistency and not water to it gradually, this is my favorite way of swatching a new color when I get one. Use the black and white mode of your camera if you're in doubt. Once you're ready, you can head over to the next video where I will show you how you can achieve a smooth and soft background for your monochromatic landscape. 5. Background: In this video, we'll practice painting as mumbled ground for our monochrome paintings. As monochrome paintings are used to convey simplicity, our background will be a simple gradient wash. We can paint more interesting sky with clouds, but this will only distract from the tree, so I thought and gradient wash will be more suitable for this project. You can learn more about the different types of washes and how to paint them in my classroom's sunset. But for now, let's focus on the type that we'll use today, the gradient wash. I have taped my paper to my smaller board. If you practice this, make sure not to tape yours to your desk as you will need to move it a bit. I will place my paper tape like that so that's my board is at an angle, this way the water and pigment will flow down and will help us achieve the subgradients look where after. I will now wet the entire sheet of paper with clean water. I will use my Mortal Brush for that. You can use your biggest brush. Making sure that your paper is very well moistened is crucial here. Even after the entire surface is wet, I continue adding more and more water and I work at into the fibers of the paper with my brush. Since the paper is 100 percent cotton and with 300gsm thickness, it can hold a lot of liquid. I want to make sure that it has absorbed enough water so that the surface stays wet for longer. Once it is moistened, the paper starts to buckle a bit and water starts to pull on the surface. We want it to be covered with an even layer. What you can do is take your board and move it a bit so that the water from the pools gets absorbed and the paper looks even moistened. I'm taking now my soft quill. The softer is your brush, the easier it will be achieve that's what transition from dark to white color. Stiffer brushes may leave streaks that may be hard to get rid of. I will squeeze some fresh indigo here on my palette. I will take out the excess water on the rim of my water jar. We want to start with a thick consistency and delete it gradually as we go down. I'm loading my brush with the mixture and now starting from the top. I move it from left to right, dragging it down. When I reach about one-third of my paper, I'm washing my brush, I squeeze out the excess water from it, and I will use it to continue dragging down that color. You see how it gets lighter and lighter. I repeat the same process when I reach two-thirds of my paper. As am reaching the bottom the color is basically white. I want the background to be slightly darker, so I'll add more color to the upper part and now I will drag it down. Washing my brush when they reach about half on the paper. Now the background looks more balanced, slowly transitioning from dark to white. But now I have those streaks, so I will tilt my board this way, letting the water and pigment flow down. Now we need to observe if you have pools of water and pigment like this here. Most probably you will have some liquid gathering here on the bottom. You can soak it out with a paper towel. I will try to get rid of those by tilting my board from side to side. I don't want to wipe off the pigment just yet. You can see now how it flows in this direction. I will tilt it on the other side to help that color flow. Now that the pigment has moved a bit upper part and got lighter, so I will add more paint to it. If you're happy with how yours looks like, you can skip this step. I'm doing the same thing I did earlier. Now it looks better. If you have a big brush like that, it will be easier to achieve that smoothness. I will wipe the drops of water and pigment from the paper tape and I will tilt the board again to make sure the paint will spread evenly. You can also use the damp brush to absorb the excess liquid, but it needs to be soft otherwise, it will disturb the pigment that has already settled on the surface. I will continue tilting my board until there is no liquid traveling on the surface of the paper. You can leave it to dry at an angle like that, but make sure you keep an eye on it while the paper is wet. Also makes sure there are no drops of water, or paint on paper tape as they may go back to the painting once it has started to dry. I will leave my painting to dry like that. My background is now dry. I will remove the masking tape. Don't worry if your gradient is not perfectly smooth. You can see that mine isn't either. We'll use that to paint the sky and in reality, the sky is rarely a perfect gradient wash and so variations of it will just make your painting look more interesting. It's one of the many reasons I love watercolor. It helps you get rid of perfectionism and to embrace your mistakes as they are only making the final results a more authentic expression of yourself. Practice painting smooth backgrounds, which are surprise because it's always different. Once you feel you've got the hank of it, hit over to the next video where I will show you how we can use the wet-on-wet technique and water control to paint trees in the distance. 6. Water Control: In this video, we'll practice water control as we needed to paint the trees in the distance and foreground, wet-in-wet. Now, wet-in-wet is more than just painting on wet paper. We need to know when is the right moment for applying this technique. I will show you the two common mistakes and then I will show you how it's done right. If you want to learn more about water control, I strongly suggest that you have a look at my first-class watercolors secrets. There I go into detail on how you can manage the water on your paper brush and inside the paint mixtures so that you get the desired results. The first common mistake is putting too much water on the paper or not waiting enough for the paper to absorb the water. In both cases, we have puddles of water on the paper instead of an even sheen through which we can see the texture of the paper. I have moistened top rectangle with a lot of water and now without waiting, I will just go with my brush. For the trees in the distance, we don't want to get caught up into many details. I'm just using bold brush strokes to create different shapes. You see now that I have too much liquid on my paper, I can't predict how the paint will behave once it starts to spread. If I tried to add more thick paint, it also spreads uncontrollably. This is, of course, nature for watercolors and part of the processes to let them do their thing. But it's also important to use water control so that you will be in charge of how the paint will spread. I will continue with the second common mistake, and that is not putting enough water on the paper or waiting too long for it to be absorbed into the paper. I just like my brush on the paper surface. I'm not going back and forth multiple times as I did when I painted the background. What happens when we do that is that the paper absorbs the water and the surface is now unevenly moistened. This leads to other kinds of unpredictable results. I paint the trees in the same way. You can now see that the paint is not spreading enough or it is spreading differently in the different areas. By the way, have a look at the upper rectangle. The paint went totally crazy and it's spreading all over the place. Of course, both of these loops may be dessert at some point in your process, but it's important to know how to check them or how to avoid them if you're going after more predictable results. This is how I make sure the paint will spread the way I want it. I wet the entire area very carefully. I'm going back and forth and I continue to introduce more water by spreading it evenly. This takes more time, but then I will be able to paint soft and blur trees. I take some concentrated paint, by the way, in all three rectangles, I have used more or less the same consistency of paint. I paint different shapes and you see that the paint is spreading nicely creating these soft edges. If I want, I can take more concentrated paint and add a few spots to make the silhouettes of the trees more interesting. This adds more dimension. I can also splatter some clean water for additional effect. If I try and do this here, the water drops will just merge with the rest of the water that still sits on the paper surface and if I do it here where the pigment has already started to dry, the drops become very visible, pushing too much of the pigment away. This is how it looks when it's dry. As I said, depending on your style or what you're painting, you may be after each of these looks. What's important is that you know, what causes each of these. Practice this with your supplies because each paper is different and weather conditions also play a big role in this. For example, if it's too hot around you, your paper will dry quickly. Water control is a substantial part of watercolor paintings. Once you get more comfortable with it, your skills will naturally improve. Once you have practiced this, head over to the next video where we'll practice another important technique that we'll use in the final project, the dry brush technique. 7. Dry Brush: Welcome back. In this video, I will show you one of my favorite watercolor techniques, the dry brush. It is a wonderful technique that can give you amazing results and I use it in almost all my paintings. In this class, we'll use it to paint the texture of the tree trunk. Let's get started. I will use my Size 6 brush. It's better if you use a synthetic brush, preferably one that it's stiffer and doesn't hold a lot of water. I start by wetting my brush and then I take the excess moisture off it on my paper towel. Then I take concentrated paint, either straight from the pen or a tube. I don't have much water on it, so the consistency of the paint is very thick. Then I just move my brush across the paper and I get this interesting texture. You can go over it with a damp brush and smudge some of the paint to make an even more interesting effect. [MUSIC] So how are we going to use this technique to paint our tree? Let me first draw the shape with my pencil and then I will start adding some random brushstrokes, mainly on the sides of it. This way we'll emphasize the cylindrical shape of the tree trunk. Try to make these brush marks as organic as possible. [MUSIC] Then with a damp brush, I will go over some of the spots and I will smudge the paint. Again, I'm avoiding the middle. If the paint spreads too much, I can blot it with my paper towel. You can leave more or less whitespaces, it's up to you. Then I like to go back with some fresh and very thick paint and add some more dark spots. This way we achieve a very nice contrast of the tree trunk. That's it. Practice this and in the next video we'll practice the final element of our project today, the branches of the tree. 8. How to Paint Branches: Let's paint some branches. They seem easy to paint, but it's very easy to mess them up. If your branches are messed up, then the whole painting looks wet. I will use my regular brush and I'll load it with paint similarly to how I did it in the previous video for the driver's technique. I don't have a lot of water on it, and then I take very concentrated paint. I start by pressing it a bit so that it forms a thicker stroke. Then I drag it across the paper gradually releasing the pressure and slightly changing the direction. Let me show you how this will look if I take more water paint. You see that it doesn't look as natural as the one above. When I change the direction, I do it with a sharp turn instead of having these softer bends. Don't be afraid to get messy and maybe go across the branches you already have painted. Another thing you can do is leave some gaps like that. This way your branches will look lighter. Make sure that the branch is thicker next to the tree trunk and then it becomes thinner. Let's add some branches to our tree trunk now. Some may be short and some may be long. It always looks nice if you make the area where the branch and the trunk connect a bit darker. They can go in different directions. Some are going up and some may be going down. Some start from the middle of the tree trunk and some start on the sides. I somehow painted these two symmetrical, so this is another thing you should avoid. Practice painting some branches, and let's meet in the next video where we'll finally start with the final project. 9. Sketch: Hello. Welcome to the final project section of the class. I have all my supplies ready and I will start by taping the paper to my board. [MUSIC] This step is often underestimated. We can't wait to start painting, so we often rush. But if we want to have a nice and clean white border around our beautiful painting, we need to take our time and make sure the tape is firmly pressed to the paper. This way water won't be able to slip underneath. [MUSIC] I will cover this tiny area here too. I'm ready to start with the sketch. I will mark where my tree will start and end. Then I will measure around one-third of the paper and I will use that to mark the horizon line. Here I will have some trees in the distance. I don't press with my pencil because I want to have soft edge there and I don't want the pencil to be visible underneath the watercolor. Let's continue with the tree now. I draw the tree trunk. It is thinner at the top and then it gradually becomes thicker. [MUSIC] Here below, I'll just leave it like that. Let's draw just some of the branches. We can always add more, but let's just have some guides. It will be easier this way. [MUSIC] I think this is enough. I will now take some of that excess graphite with my soft razor. [MUSIC] Now I will use masking fluid to cover the tree trunk. If you're going to use white gouache for it, you can just keep this nice video. But again, I remind you that in this case, your tree will look a bit different. [MUSIC] I need just a little bit to cover the tree trunk. I'm not covering it entirely, especially in the upper part where I leave bigger spaces because it is darker there. [MUSIC] No need to get that perfect. It's totally okay if you have some white gaps. [MUSIC] Make sure to leave it rough here at the bottom. That's it. I will leave it to dry now and in the next video, we'll start painting. 10. First Wash: It's time for the first wash. I'm asking for this now on dry. I will place my paper tape again like this so that my board is at an angle. In this video we'll paint the sky the same way we did in the exercise. We will also paint the foreground, which is the ground in the bottom one-third of the painting. We'll paint the trees in the distance similarly to how we did earlier in the exercise. We're going to do all this in one goal while the paper is wet, so make sure to moisten your paper very well. [MUSIC] I'm going back, and forth multiple times. I think that's enough. I'll squeeze some fresh paint on my palate. I will also prepare my pen in case I need some fresh paint quickly. I will go over the paint with my brush again, making sure it's evenly moistened. This will allow me to work with, and white for longer [MUSIC]. Now we'll start with the sky. I'm taking my big soft brush [MUSIC]. Taking off the excess water on the rim of my jar [MUSIC]. I will prepare the mixture for this sky [MUSIC]. It is not very thick but it's not very watery, somewhere in the middle. I load my brush with it. One last time, I'm going over the paper with my muffler. I'm wiping the drop that gathered on the paper tape. Let's go. I move my brush from left to right slowly dragging the paint downwards. I will now wash it, and I'll continue from where I stopped. [MUSIC] I will stop when I reach the bottom 1/3, the place where my horizon line is. And I will go back to the upper part with some more paint, and I will repeat the process. [MUSIC] I'm making sure that my brush doesn't have a lot of water on it, this will disturb the pigment that is already on the paper. [MUSIC] I think this looks okay. I will tilt my board now. [MUSIC] I look for pools of water, and pigment and I block then with a clean, damp brush [MUSIC]. As the pigment moves across the paper, the transition between the different tasks becomes softer, and softer. [MUSIC] Remember that it's okay if your background is not perfectly smooth. [MUSIC] I'm happy with how mine looks like, so I will move on to the foreground. With my big brush I will take some thick paint, and I will place some random spots here. Make sure your paper is in the right condition before continuing with this step, the same way you practice painting the trees in the distance. I tried to keep the bottom part darker, and then as it goes closer to the horizon line, it gets lighter. [MUSIC] I think it's a good time for me to paint the trees in the distance because I like how the paint is spreading now. I tried to paint them quickly with as less brushstrokes as possible. This way they will look more natural. Fixing the horizon line. Now, I will switch to my size six. I will add some splatters here in the foreground. It's okay if some of them going to the sky, it will just make your painting more interesting, and atmospheric. Some blue spots with thick paint, mostly in the bottom half of the foreground. This will enhance the feeling of perspective so we have the darkest colors, and the biggest spots closer to us and everything becomes lighter, and smoother, and somewhat foggy in the distance. [MUSIC] I will sprinkle some clean water on the trees in the distance. This will make them look more interesting, and will add to the atmosphere of our painting. Some wonderful foreground too. I love the affected grade. I will wipe the sides of my painting, and I'll leave it to dry now. You can use a hairdryer if you want, but it's better to leave it to dry on its own. This way the paint will continue to move, and settle onto the paper, and in general it is better to avoid the hairdryer if you have masking fluid on the paper. Whatever you decide, I will see you in the next video where we'll remove the masking fluid, and we'll paint the tree trunk. 11. Tree Trunk: My painting is now completely dry as it should be before taking the masking fluid off. You can remove it by simply feeling it with your finger. Or you can use an eraser. I prefer this way because it's quicker and I feel it gets rid of all the tiny pieces of masking fluid. Now we have our clean white tree trunk. If you haven't used masking fluid, you can just continue following along and you can add some white cross and the end. Let's add some texture to the tree, same way as we did in the exercise using the drivers technique. I take the excess moisture from my brush and I will start adding some brushstrokes from the edges to the inside of the shape. Actually, I want to start with this part here as it has to be dark too and then I continue. I'm defining the edge here, but I still make sure I'm not outlining it entirely. Here it becomes thinner, I move my brush up and down. Just some random spots. You can paint as many or as little as you want. Now with the damp brush, I will smudge some of those spots, mostly near the edges. I move my brush left to right whenever I can. This will help me emphasize the round shape of the trunk. I try to leave some white spaces. I'll define the edge here with some fresh paint adding more and more dark spots. Here it looks very unnatural, so I will smudge it. I will try to lift some of the color with my napkin. Remember that it's darker here in the upper part. I think I will leave it this way. It looks good and I don't want to overdo it. You can have a little break if you want or you can head over to the next video where we'll paint the branches. 12. Branches + Leaves: In this video, we'll add some branches and some final touches and we'll finish the painting. I'm taking my rigger brush. I'm taking some thick indigo. I will start by going over the pencil lines I drew earlier. I'm thickening the branch here next to the tree trunk. I'm always improvising, I'm not just following the lines, but they serve me as guides. Here on the left side, it's easier for me to start from the end of the branch. You can also turn your painting so that it will be more comfortable for you. Going apart, here the branches become smaller. You can see how I have more branches on the left side. It's not necessary to be symmetrical. Often in nature, there are more branches on one side of the tree, usually the one that is facing the sun for the most part. I'll add some short branches here and there. If you want you can also add some leaves. It's a winter painting so not too many of them. I will use again my rigger brush. I love the natural-looking leaves I get with it. I'm taking some concentrated paint and I press my brush next to the tip of the branch and I move it a bit, slightly flicking it at the end. Some could be just random spots. I will add a few twigs here on the ground. Some splatters. I will add some more leaves. This is it. We are ready with our final project. I will remove the masking tape. I got a nice clean white border. I really like how it turned out. I hope that you are happy with your painting too. See you in the next video where we'll wrap up the class. 13. Wrapping Up the Class: [MUSIC] Congratulations on completing the class. You did an amazing job. I hope that now you feel inspired to continue to experiment, and to learn from this technique. You know how they say that often the best solutions are the simplest. I think this is 100 percent true for monochrome painting. It can help you take your skills to the next level, and it is so easy and relaxing. Once you complete your project, don't forget to post it in the project section of the class. You can tell me more about your process. I'm always happy to read about your experiences. You can also have a look at what your classmates have uploaded, and encourage them on their journey. If you post your project on Instagram, don't forget to tag me, and I'll be happy to share your work. If you have a question for me, just post it in the discussion section of the class, and I'll get back to you as soon as I can. Until the next class guys, happy painting.