Painting Swiss Landscapes in Gouache

1. Introduction: Hello, and welcome to this class where we are going to journey to the heart of the Alps and learn how to paint breathtaking Swiss landscapes using vibrant and versatile medium of quash. I'm Mandar Marathe, a fine artist, sculptor, and an art educator. Over the years, I've had the privilege of teaching more than 25,000 students both online and offline. My goal is always to take complex subjects and break them down into steps that any artist can master. Whether you are just picking up a brush for the first time or you are an experienced painter looking to explore a new medium, this class is designed for you. I've kept the approach generic and accessible so that anyone with a passion for landscapes can follow along. I've developed a comprehensive art framework centered around six essential building blocks of painting, which are concept, drawing, composition, value, color, and technique. I have several courses dedicated to each of these blocks to help artists build a solid foundation. In this specific class, we'll be focusing primarily on the technique block. We are going to dive deep into gouache specific methods, learning how to layer, blend, and handle the paint to get those crisp and beautiful textures that make landscapes pop. Using reference photos I personally captured during my travels in Switzerland, we will paint two distinct landscapes together step by step. You will see exactly how I translate a photo into a gouache painting from the initial sketch to the final highlights. For your class project, I've attached my original Swiss reference photos. Your task is to choose one and apply the techniques you've learned in this class to create your own mountain masterpiece. I can't wait to see your work in the project's gallery. So are you ready to paint the Alps? Let's get started. 2. Swiss Village On Slope - Materials: This video, we're going to learn about the materials that I'm going to use for this painting. I have this 230 GSM handmade watercolor paper taped on a board. Then I have three brushes. These two types of brushes are used generally for oil or acrylic painting, but I like to use them even for the way I paint with watercolor and uh because I like the texture which they create. So this is a 1 " hog hair brush, and this is half an inch hog hair brush. Then I have a small round brush with soft bristles. These are the only three brushes I'm going to use. Then talking about the colors, these are all watercolors. Only thing what I have here is white gouache color to make the paints opaque. I'm going to use only a few colors for this painting. I'm going to use cobalt blue, some Prussian blue, yellow ochre, lemon yellow. And titanium white. And I might need to use Venetian red or Vermeilion color as a red. So basically, I have two blues, two yellows, one red, and one white. And with that, I'm ready to start the painting. 3. Swiss Village On Slope - Composition: Before we jump into applying paint to the paper, it's always a good idea to compose a picture based on the photo. So this is the original photo which I clicked from the moving train in Switzerland, and I like some part of it, actually, this portion, and that's why I cropped the image to get this. But even in this, I want to refine it further for making the painting more captivating or more interesting to look at. So what I don't like about this photograph is that you can clearly see one, two, and three shapes, and I want to break that monotony somehow. So what I've done is I've sketched a rectangle of a similar proportion that I want to paint on, which is six by 8 ". So I'm going to use this photograph as my reference and make a sketch. And what I plan to do is make some modification in the shapes so that it is not monotonous as the photograph is. So I want to keep the foreground as it is, so I'll just draw this line like this. And then I want to make some changes to the outline of the mountains. So instead of going straight from here to here, I'm going to make the mountaintop slightly flat, and then I want to bring it down here and then end it like this. So there is a variation in the shapes. And of course, this is just an idea. When I actually paint, I might make some changes, but at least this gives me a good start. So let me put in some of the objects that are there. I want a few houses here just an indication of those. Then a few trees, let me increase the size of the brush and I don't want the viewers attention to go out from here. So I'm going to have some trees here also, and there's going to be some kind of indication of slope here, maybe a tree or two here or not really maybe here. I want to darken this and also show these sheaves which are actually the rock on which there are no trees growing. And in all the other areas, there is dark blue colored foliage and so on. Let me not share this. But I think this is slightly more interesting than this one to look at. And you may not feel that there's something nice to look at, but its aim is not to look nice, but to give me an idea of what kind of compositional changes I need to make. So with that said, we can go to the next stage where I actually draw this in more detail on the paper that I'm going to use. And when you do composition, I just used an iPad just because it is easier for me to zoom in Zoom out and draw. But you can do this composition with a simple pencil and paper. So now let's get to the next video in which I'll actually draw this and then continue with the painting. See you there. 4. Swiss Village On Slope - Drawing: Come back. Now that I have this composition, rough study made on iPad, I can actually draw it on the paper. So I'm going to use a simple pencil to draw it out, and I'm going to also look at the photograph and the composition. And I don't want this line to be at the center, which I did in this sketch. So I'm going to take it slightly down. This is the approximate vertical center of the paper. So the line can be something like this. And I might actually end the stoke here so that it goes more downhill, and I'm going to change the mountain or draw the mountain from here and make few details in the outline and make it outline that. And then I'm going to have a tree here, a tree here. I want a house here, which is going to be something like this. And maybe another house just behind it, which we don't see completely. Then a tree here, a tree here, and a few more trees here on the slope of this hill and maybe a roof peeking out here. And then there are a few trees here. I just want to give an idea of houses being there on the slope. I don't want them to be the complete star of the painting, so to say. And I don't want the viewers attention to go out. So I'm going to have another tree here which simply obstructs the viewers attention from going out, and then I have these rock formations or the rock face where there are no trees growing and maybe show some more clouds than what this photograph shows. I'll overlap some of those on this mountaintop so as to blur the outline maybe slightly flat ground here and something like that. So I think I'm ready with this sketch for the actual painting. And I will post a photograph of this drawing a rough sketch in the description so that you can use that to make your drawing and then start painting. So see you in the next video. 5. Swiss Village On Slope - Painting Part 1 of 4: Now is the time to actually paint on this drawing which I've made. And I'm going to start with the darkest shapes that are there in the painting and which are the trees that are here. And in opaque medium, it is generally advisable to start from the darks, though it's not a rule, more like a thumb rule. And in this case, I would like to start from the darks and go towards light because then it will be easier for me to gauge the value that this mountain needs to have and you can see the ready or the final painting in the top right corner. So I'm going to start by mixing blue green color. So cobalt blue. And I want this green to be darker green. I'm going to not use lemon yellow. I'm going to use yellow ochre. And let's see how this color looks. If I feel it's dark enough, then I can continue. If not, I'm going to add some red to it. And I'm using this half an inch hog bristle brush. So let's see how this looks. I think it's good enough to start with. I can always add some accents later on. So I'm going to keep on wearing this color. I don't want to use it as it is in every tree. And I'm going to assume that the light is coming in from here. So there will be some highlights or lighter side. And so the left side of the trees and all the objects here will be slightly lighter than the right hand side. So let me make this green slightly lighter on this side. Let me start with this I think I can add some lemon yellow. This is the lemon yellow to make this colour slightly lighter. And I can always come back and modify the values. So I'm going to paint left side of all these trees first and then come in with the darker color for the right hand side. So now I need the darker side, and I'm going to make it slightly more dark or darker than what I get by mixing just the blue and yellow ochre. I'm going to put a tinge of red in This is. And let's see how this looks. Yes. Interesting. And even though these trees look like just a blob right now, I can, of course, come back later and adjust anything that needs adjustment. Okay, now let's paint the houses. Those house. For the color of the roof, I'm going to make a reddish grey color, adding some blue to the vermilion. And I want to add some white to make it opaqu. And I want to darken this, so I'm going to put some more blue and some red. And I want to desaturate, so I'm going to put some little yellow ochre in it. Yeah, let's start with this and let's see if this colour needs any change later. I'm going to add some more white. And I'm using this small round brush because I want some precision because of the size of the roots that I'm painting. And maybe a hint of a house here or a roof here. Then as you might have noticed, most of the farmers houses in Switzerland have two stories, and the ground floor walls have white color. And top floor is made with wood. And I'm going to make a dark color or the wood dark brown. I think this should be good. Let's see how this looks in comparison to the color of the roof. The fine. Yeah, that's good. Be sue. And the first floor will be very much white, but I don't want to put pure white. So I'm going to use this color to just add a tinge to the color that I'm applying or maybe I can repaint this later when I have all the other things planned out or painted out. Okay. Now it's time to paint this because this is darker than this. Next grade in darkness will be this. So this is actually mountains. It means to have that mountain color in some places the rock color rather. And for that, I'm going to mix this, maybe add a little more white in it. Let's see how this looks as the base color for I'm going to make it slightly more yellowish. So what we have here is blue, then red, then some yellow ochre. And white. And so this will give me a base color for the rocks. Of course, I can change it later, but this gives me a starting point. And now I need to mix a bloom. So for this, let's use some Prussian blue. And I'm mixing this in this puddle in which I made that earlier color. So some Prussian blue and some yellow make it slightly greenish. That's too green. So more Prussian blue. But Russian blue is very, very intense. I want to add some cobalt blue also in it, and I want to lighten it because the mountain is at a distance, it's going to be much lighter. So let's see how this looks. I think this looks too vibrant color. So it needs to be darker with some Prussian blue and some red. Let's see. I think it needs to be light or even more. So more white? Yeah. And in respect to this trees, how it looks. I think it looks so. So I'm going to paint this mountain. And I'm also going to create some variation in this blue by adding blue some more blue in some areas, some less blue and other colors in the other areas. So never paint a shape filled with same color monotonous inner landscape because the nature has so many delicate colors. And if you paint it flat, it looks more like an illustration and not a painting. So I'm going to carefully paint around these shapes that I've already painted. And I'm using vertical strokes, and I'm going to also drag this brush onto this color because I don't want pure flat color. And Don't be afraid to make bold breasttoks. And I want these reeks to remain as it is B to smooth it out. We In painting, first, you have to make a guess about the values. And as the painting progresses, the painting itself tells you whether you need to ingest any values anywhere or you are going to go. I want to give a lot of importance to the house. So you can see that with this color now added, the house looks very dull. It's not popping out and I'll have to do something about it. But at least it gave me the earlier painting layer gave me an idea of what it should look like, and then we can keep on adjusting. So painting never happens in one go. You have to paint in layers and keep on adjusting. As I go towards the top of the mountain, I'm making the color slightly more greenish, but I don't want to compete with this. I'm going to also add some white. And gently drag this over this. Some more bloom. And you can see how this bristle brush is creating the texture. With soft brush, you cannot get this effect. And that's why I defer these brushes, even for wash paintings. I'm going to take some yellow or of this yellow and give a hint of some more yellow in here. The colour need not show. It has to just create an impression of variety. And create some interest. So now I'm dragging this darker color on top of this in few areas where I feel I need to show the depth or area which receives less light that is also helping me break the monotony of this big shape I don't want any area to look flat. Let's stop here as far as this mountain is concerned, and we can, of course, revisit it once the whole painting is painted. See you in the next video where we are going to proceed further into the painting process. 6. Swiss Village On Slope - Painting Part 2 of 4: Now, let's paint the foreground, which is much more bright green slope of the mountains. I'm going to take lemon yellow and a touch of cobalt blue, and let's see how this looks. I think I need to add some white to it to make it more opaque. And let's first apply this and see how it looks. I think I'll start with this but make changes to it. And because the grass is never of the same color everywhere, I'm going to make variations to it as I go along. And I want these treks to be there because they give much needed texture to the painting. And as I go towards the bottom and end of the painting or the corner of the painting, I'm going to darken the green because I don't want to make this area very attractive to pull the attention back into the center of the painting. Here I'm going to use some of this leftover green and add some yellow Just by using the brush strokes, you can see how I've created two different sloping shapes. And you don't always have to arabic shapes to suggest the change in the terrain. You can use just different brush strokes to suggest that. And the viewers eyes and brain fill up the rest of the things. So here, I'm going to now paint a few shrubs of the similar color that I've used for the trees. So I'm taking this same color and putting a tab here and there. Need not State everything. You can just suggest and leave it as it is, and it does create an illusion of some shrubs being there. Now, let's quickly paint the sky, and then we can come back to painting the details. So see you in the next video. 7. Swiss Village On Slope - Painting Part 3 of 4: Before I proceed, I like to always keep my palette clean. So I'm going to clean this up. Okay, now we can come to painting the sky. So for the sky, I need white and blue cobalt blue. So I'm going to start with some cobalt blue here. And let's see how this looks. I need to add some white so that color is not transparent, okay? This looks good. I'm looking at the photograph just to see what kind of cloud formation I need to paint, but I'm sure that I need to make the corners dark so that the viewers attention doesn't go off, and I'm going to paint lighter clouds, some of them even overlapping this mountaintop. So what I have on my brush is actually a very rough mixture of white and blue. But I'm going to make it or apply it first and then think about how I need to adjust this green has come into this white and making it difficult. I'm going to pull it off. And now I can use this white. Again, I'm using the brush very lightly so that I don't create any hard edges. If you're using a soft brush, you won't be able to make these light marks easily. You need to use a stiffer brush and there is no particular direction in which I'm painting the sky because the clouds do not have any definite shape as such. But I'm going to make sure that towards the horizon, the color is lighter than what I have here because that's how the sky looks. The horizon has lighter colors lighter glaze in this kind of scenarios, lighting conditions rather. And let's see if it needs any changes. I think I can show some blue patch here. Just cobalt blue. And I'm going to take your whites now, and I've cried in a few places. Now I don't have any blue on my brush. And if there are any hard edges, we need to get rid of those Okay. I think that's enough. I think I should clean up the edge of the mountain at least in this area. I don't want to make it super sharp, but I can even use a finger and run it over Yes, now it's time to take stock of the situation and see what this needs. So what I feel now is that this color has still too dark, and I need to make it lighter so that I can then also add some dark accents to these trees so that it pops up. So to do that, I'm going to mix a lighter origin of this color. I think I can add this color itself. And so I need to add some Prussian blue. And make it lighter and slight grey. I don't want a very vibrant blue there. So if you want to gray down a color, you always add its complement let's see how this would look. This is too light, and it competes with the sky color. So some more blue, some more red and some more yellow. You can see that the palette is getting muddy. The colours are getting muddy, but it's okay. We can clean it up when the painting is done. Now let's see how this would look. This looks better. And also, I'm not going to paint the whole mountain shape again. I'm going to paint a few areas. I don't want to cover everything so that I leave some of the dark showing through. Again, you can see the direction of the strokes that I'm using in some areas I can darken it further. This is how you add just the value of a shape. And value is much more important than the color or the to be precise. If you want to learn more about color theory, I have a course specifically on that and color mixing. You can check it out. Just dragging the brush on top of it. The earlier layer. Y This is something like glazing wherein I'm applying one layer or the other. And even though this color is not open, sorry, not transparent. I'm applying it in such a way that some of the underlying colour keep showing through. So to that extent, this can be sent to be similar to glazing. And now I think let this dry, and then we can come back and add a few details to finish the painting. So see you in the next. 8. Swiss Village On Slope - Painting Part 4 of 4: I have taken a look at this painting from distance, and I can see that I need to slightly blur these or tone down their brightness. I'm going to apply this same blue colour. And because they are shining too much. So let's tone it down a bit. Okay. Now it's time to put finishing touches to these trees. But before that, let me add some details to the houses. So starting with white. So reapplying the white maybe here so we can show give a hint of the. And I'm also going to need a slightly darker version of white, not exactly pure white. So as to suggest a few windows. Yeah. Maybe one here on this house. And I'm also going to lighten the roof. So some red let made lighter with white. So I have coal blue, vermilion and some white in it. And see how this too. Now I need to use a darker color to show windows in the white wall. So I'm going to make a darker color. Again, a mixture of blue and red. I which got pigs. We don't need to paint every detail. I now need to you can see that the bottom of this tree where the shape of the grass starts, it's looking very clean, whereas or a sharp edge, whereas I need some grass there because the grass is closer to us than the wall of the house. Or the farmhouse. So I might overlap it with some green color tight. Indicating some grass growing near the wall. We just need to suggest a few things, and then the viewer's brain fills out the rest. Well, I don't know if I need to make the roofs lighter. Let's see if making it a bit lighter makes it more interesting. Because I'm using now a thinner origin of color, this is going to try more transparent so it will not be as obvious as it looks right now. These are just indications. Oh, yeah, there is a house dead. Yeah, this looks good. Now, let's add some finishing touches to the trees. I'm going to use this same area to mix a green. So yellow ochre, blue and red. This is going to give me a dark green, very dark. Yeah, let's try this. This is much more bluish than greenish. Yeah. Let's see. This is also not very dark, so let's mix it from scratch. So blue, some yellow, and it's some red. Yes. This mixture already had some white in it, so that's why it wasn't looking dark enough. So I'm going to add now a few accents of dark and make the edges of the tree shapes more uneven or unfinished because some leaves do like to pop up or pop out of the shape here and there. Even here because the trees are darker towards the base as that area gets less light. So now I need to mix a lighter green, so some yellow and some blue. And let's see. This should not be as light as this. I think it is lighter than what I need. Yeah, I'm just dragging the brush over this. And and painting just a few areas. I don't want to overlap the lighter side with this color completely. So you need a lighter touch to your brush. Yeah, I think we are close to finishing this painting I think I can darken a few areas in this mountain here. So some cobalt blue in already made area. And let's see can be darker. Let's use this dark. I think I can go darker. Okay. Also, the color the blue color looks very flat here. Someone to drag this brush over to create some texture and then and towards the edge anyway, I need to darken it down so that the viewers attention doesn't go towards the edges and comes to the focal area. So I think we are done. I hope you enjoyed the process of painting and to remove the tape and see the cleated peg. Be careful when you remove this tape. Always pull it away from the paintings. Yes, that's it. I hope you will give this painting a try. You will paint it yourself and put into action whatever you have learned. And that will give you more confidence. I'm sure this will become lighter when it dries. So thank you and see you in the next video where we paint yet another landscape painting from Switzerland using quash and watercolors. Thank you. 9. Snow Capped Mountains - Supplies and Drawing: Come to this video. In this video, we're going to paint a landscape based on the photo which you see on your screen right now. I clicked this photograph from the gondola ride in Switzerland when we were coming down from Mount Ketels and that's the inspiration for this painting. Let me now quickly tell you what materials I'll be using. This is a 230 GSM watercolor handmade paper. I've taped it onto a board. These two are my trusted bristle brushes. They are typically used for oil paintings, but I like to use them even for this painting on paper because they give me a nice texture. And this is a soft artificial hair brush and the color that I'm going to use for this painting are Prussian blue, white, of course, then I'll use vermilion red and yellow ochre. There's not a lot of variety of colors in this painting in terms of color mixing, this is going to be an easy painting. Let me now quickly go to draw the scene with a pencil and I want to start with this I'm drawing it by this, and then there is another peak a smaller one, of course, which goes like this. And there are a few peaks in the distance, just marking their rough edge, and then there is this one slope of a mountain in the foreground, which goes like this somewhere. If I draw the areas of rock I want to draw or I want to paint more rocked areas here because otherwise, this bottom area would be light in color and it'll attract a lot of attention from the viewers, which I don't want. I want the focus to go somewhere here, so I will make less area of this part snow covered and more of it will be rock. And there is a rock seen on this side as well of this peak and then this part I'm just randomly drawing this. But keeping in mind the overall shape, I don't want to draw all the details as they are. I want to have the overall shape correct. I guess that should be enough of drawing and we can start the painting. See you in the next video. 10. Snow Capped Mountains - Block In: Come to this video. As you know, I will be using the Prussian blue for this painting. I want to first make the brown. So I have taken some Prussian blue, adding some yellow ochre to it to make it dark greenish and I want to add some red to make it into a brownish color. And it still looks greenish. I want to add more red. Yeah. I Yes, this looks good. I guess I can add some more yellow. Yes. Even some more will do. As you can see, there is not a lot of water in this color. It's thick and that's what I'm going to apply here. I'll start with this peak. A wherever I marked the area for the rock, I'm applying this color. And I can use the white color of the paper as the snow as far as possible, but I will also be using opaque white. Uh huh. This is the edge of the cliff. That's why we can see the rock. Because of the slope, not much snow can accumulate there. I think those are all the areas where the darks need to be. I can of course come back later if any idea is missed. Now I'm going to go to the blue areas. Again, Prussian blue and some white. I also want to darken this a bit. I don't want the pure bright color. I've added some red into it to tone it down and I'm going to start with the sky area here. And I need white to indicate the clouds. A I'm taking white directly from here. I didn't take out this color fresh. That's why it's slightly thickened. There is going to be a cloud here. I'll not paint the top of the cloud with this color. Let's paint the other areas this is establishing the boundaries here first, and then we can get into the details. Let me paint the distant mountains now. They are again going to have much intense and dark color. You can see that there is not much of a variety in terms of color here. But in terms of values is lot Now, let me come back to the sky area. I want to take some cleaner white from here and let's start painting the cloud top of the cloud. Even the white that I am talking about is not pure white in this painting because there's not much of a light in there. I just filling in the area with radiation in the color So red, too dark in the color, and it's too dark. Let me start with this idea. I want to put white in it to tone it down a bit. H. And some light areas here. So clouds, as you can imagine. But I don't want these clouds to be very defined because as they say, these are the supporting characters and not the focal area of the painting. I don't want to maintain any hard edges in here. There is another cloud which is here and it's the area below it is going to be lighter. Let me first fill it in and then see what it needs. Wever I'm applying this dark color, it is basically a mixture of Prussian blue, vermilion, and some white. Whenever it's light, of course, it contains a lot more white. But the main ingredient colors are the same. This is the reason why I use these brushes. Soft brushes would not be able to create this texture or roughness. I'm getting rid of extra moisture from the brush and just drying the brush there to suggest clouds. I'm not interested in defining each individual cloud as such. Okay. So highlights. Right now, my brush doesn't have any color. I'm using it just to smudge or to spread the color what is already there on the paper and create the feel of these clouds. Here it needs some color. Mm. Okay. Now if you see the snow is also blue wherever there is shadow and only where it is brightly lit, there is pure white in it. What I'm going to do is take a lot of white, mix it in here, and create a very light blue color and let's see if this looks good. I think it needs more white. Yeah, this shade is okay. This is the edge of the cliff. That's why there is shadow on the snow and it's because of this blue shadow or because of the shadow, it's looking blue, which is actually deflecting the sky above. Otherwise, the snow is white. I'm still going with the broad brush. I won't switch to any smaller brush. I think I can still paint some areas with this. Some of this also will be in shadow. I'm painting or my brush strokes are in the direction of the slope. That's why they automatically create the dimensionality. Now I'm going to wash my brush and just with damp brush, no color on it. I'm going to rub it on this edge so that I get a smooth feathered edge and not a hard one. I'm going to use the white of the paper at least as long as possible. And these distant mountains also have snow on them. Let me suggest that. I'm barely touching the brush to the surface of the paper. But I guess you can see the effect it has created. Now it's time to switch to a smaller brush. I think I should use white directly from the from the bottle because all of this has become blue. So now the brightest area of the snow. There'll be less blue on the left hand side because this is where the light is coming from and there'll be more blue on the right hand side. This is the edge of the cliff and it's the snow on the edge is catching the light. I need to make this edge smooth because this is the edge of the snow. Some of these areas are also catching the light, but not much. This side it's not catching any direct light. I'll not have any bright white areas. Okay. Now think some areas need some more definition. This can be bluer. The edge of the snow is a smooth area. So I'm not keeping any very rough edges. As you can see, I'm not looking at the photograph or not painting as per the photograph so much. Now I'll come back with this dark color and restate a few dark areas. Maybe there is a small rock here. On the slope looks odd. I think I need to fix this and even here. Basically, I want to break this big area of white snow some more dark color with blue and red and a hint of yellow ochre in it. Yes. Let me now step back and see what this painting needs. H, I think what it needs is some more definition here, which I'm going to do with darker blue color, some red to make it slightly darker so that the peak has enough contrast against the sky. But now the cloud needs to be slightly more defined. For that, This white color is going to be it's going to become light when it dries. 11. Snow Capped Mountains - Details: I think what this painting now needs is I need to darken a few areas here so that the attention goes here. I'm going to come with this color and make even the snow slide darker. This is the dark blue color which I used in the sky sometime ago. I'm applying that on even the rocks in some areas. I don't want to cover them with this blue, but this will reduce the contrast between the white and the rocks, which will help me to push the viewers attention up Let me make the dark color again. You can see that I made this color several times during the painting, and I need not get it exactly same as the earlier version, but it needs to be close enough. So these are some of the details that bring in a more finished look to the winding. But we should not overdo them otherwise, they take away the attention. Now I want to do one more thing is to even have this part of the snow slightly more bluish because it's too bright and it's not allowing the peak to be the focus of this painting. I'm using this same color, the blue. But this time, it's slightly thinner version, and now I'm coming back with just a damp brush, no color on it so that I can get a good transition and not not a hard one. I think what I'm doing now is just adding few finishing touches to the painting. I think that's it. I'll stop here. Maybe a final touch of white here. Again, this is going to dry transparent so it won't look as bright as it looks right now. Yeah. I think that's, you know. Let's remove the tape and see the final version. When you remove the tape, it creates a natural frame around the painting which makes the painting shine. By shine, I mean, it looks complete and doesn't look half done if you know what I mean, there you have it. This is a painting which we just did using watercolor and gouache white of a mountain peak in French in the Swiss Alps, not French. I hope you like this painting and I also hope you will try your version of this painting and I will see you in the next video. Thank you. I