Painting Water In Watercolor: Important Things You Need To Learn To Paint Water

1. Introduction: Hello friends. I'm Bianca Rayala, a watercolor, artist from the Philippines. I'm so excited to introduce to you my new course, painting water in watercolor. In this intensive class, I will share with you the important things you need to understand in order to gain confidence in painting water. I will cover the fundamentals in watercolor painting, how water changes its color, and its movements. I will also discuss the tonal value in perspective in water. How to paint waves, reflection, and an easy color recipe for painting water. To better understand how to apply all these techniques and principles, I will be doing three practical and detailed painting exercises, which you'll surely enjoy painting. So whether you're a beginner in watercolor or someone who wants to discover more about this beautiful medium, this class is perfect for you. Get your materials ready,, and I'll see you in class. 2. Materials: You don't need to have so much paints to start this journey of painting water with watercolor. The colors in my palette are yellow ocher, burnt sienna, Indian red, [inaudible], neutral tint, amethyst genuine, horizon blue, cobalt turquoise light, lavender, [inaudible] violet, paints gray, indigo, and olive green. For the brushes, I will be using this black velvet flat brush for pre-wetting the paper and doing large washes. Next, I will also use Monza glaze brush and fan brush for lifting colors. Silver white throne brush, size 8. It is a synthetic brush. Silver Brush red sable round brush, size 8 also, Silver Brush golden natural long brush for details, and Silver Brush ultramini angular for small spots. All these brushes are from Silver Brush Limited. We will also need a liquid masking fluid, some salt, pencil, eraser, two cups of water, and some tissue. 3. Watercolor Techniques: Before we dive in to painting different water scenes, we need to understand first some watercolor techniques that we will apply in our painting. These techniques are essential for your paintings to look interesting. I will be teaching four techniques such as dry brush, stroke, smooth gradient wash, soft technique, and lifting technique. Let's start with the dry brush technique. Using a round brush, this is a synthetic brush, we load our brush with creaming mixture of pigment. When we say creamy, the consistency is more pigment and less water. Load the entire brush with mixture. Next, we remove the excess water from our brush by dabbing it on clean tissue. A quick, but light straight stroke, starting from one side, going to the other. You know that you did the dry stroke correctly if you see some white gaps on the paper like this one. Try pressing this stroke, for a few times until you get to know the behavior of your brush. For the second technique, we will tackle smooth gradient wash. This technique is useful to paint smooth transition of colors and water. As much as possible, we want to avoid the hard edges on the water surface. To create a smooth gradient wash, we start by wetting the surface with clean water. Next, apply a light wash of paint on one layer. While the first layer and the paper is still wet, paint the next layer with a slightly darker tone, then another one with the darkest tone. Let the paint blend naturally and you will notice that there is no hard edges in-between the layers. For the third technique, which is the salt technique, the salt is a wonderful ingredient to add unique texture to our painting. Just keep in mind though that different salt types produced different texture on different papers. That's why it's important to experiment and practice. In doing the salt technique, the timing is also very important in applying the salt. Apply a layer of paint on your paper first. While the paper is moist, sprinkle out some salt and wait for it to create the texture until it gets dry. 4. Perspective and Tone of water: Let's understand the perspective and tone of water. Imagine dividing the water into three layers or levels or sections. Pretend that this is our working paper and we will be drawing water. Water in the distance is lighter, then gradually becomes darker, closer to us. Repaint the water with tones from light, moderate, and dark. Second, there are no large waves in the background or in level 1. We only paint small horizontal waves here in level 2. The bigger waves are painted on level 3. The big waves are not horizontal anymore but could be irregular in shape like this one. These waves become even bigger closer to us. Smaller as it reaches level 2. The waves are also darker in one gradation of the value in order to save the balance in air perspective. Therefore, it is important to remember that the gradation in water is not just only applied intones, but also in the waves. When we apply it in watercolor. You start with a light wash, then gradually turning into a darker wash. Background being the lightest, foreground to darkest. Waves are found here in level 2. These waves are like a horizontal line. Then big waves are found here in level 3, which are irregular in size. 5. Preparing to Paint: Now that we're done studying the watercolor techniques and perspective and tonal value in watercolor, especially in painting water, we are ready to paint three interesting plots wherein we will be applying all the things that we learned in the previous videos. First, we will paint an underwater scene. Second, we'll paint a simple boat with an interesting reflection on rippled water. Lastly, we will paint also a summer beach seam focusing on waves, shadows, and this cliff on the side. Everything that we've learned from the previous videos will be applied in these three projects. I hope that you can follow along and paint with me these three wonderful seascapes paintings. 6. Class Project 1 Under The Sea Overview: For our first project, we will be painting an underwater scene where there is a light ray from the sky reflected through the waters. In this class, we will apply watercolor techniques such as smooth gradient on water, color lifting for the light rays, and salt technique for the corals. For our composition, we will paint in portrait format, and we will place the source of light here on the right side of our sheet while the corals are positioned here below. We add some fish to bring more life to our picture and we don't have to limit ourselves with what we see on our reference photo. Just feel free to express your imagination. 7. Under The Sea: Pencil Sketch: Let's begin with our pencil sketch. In sketching, it's important to have the right composition. We also don't have to copy all the details in the coral reef, but instead, just draw the big shapes that we see in our reference photo. I start with positioning the coral reef at the lower part of the paper giving more space for water in light rays. Let your imagination work by adding some creatures like small and big fish here and there. Make sure that the fishes also vary in size for more natural look. For these small fishes, I just draw some small dots here in there to create an impression of our school of fish. 8. Under The Sea: Applying Masking Fluid: When you're good with your basic sketch, we apply masking fluid on the fishes. But before picking off masking fluid, dip your whole synthetic brush first on water to protect it from getting damaged. Apply just a thin layer of masking fluid on the fishes, and let it dry completely. In case you don't have a masking fluid, you can just lift the paint using a tissue later on, and use a pink-white pigment to paint small fishes. We cover each fish big and small with a thin layer of masking fluid, and let it dry completely before starting with the painting. 9. Under The Sea Painting The Water: The flow of our painting would be first painting on one go the light and water fragment. Next, we paint the corals, then lastly the fishes. We will be painting wet on wet. We start by spreading the water evenly and completely using a flat brush. Make sure your paper is really wet, then we let the water settle in the paper for a few minutes. Once your paper is shiny, we begin by painting the light source with a very thin mix of yellow ocher leaving a small unpainted area on the upper right corner. To make the light shining, we should leave that part of the paper unpainted. Following what we see from the reference photo, we then paint some soft strokes of purple by mixing violet and horizon blue. Make sure that the tonal value of yellow ocher and the purple color are the same to achieve a smooth transition of colors. Next layer would be a light peel color. I use the same mix, but this time more horizon blue. I always refer to the reference photo to get the tonal value of the image for my painting. To create a darker color, just add a bit of indigo on the same field mix that we did. I also lift my paper on different directions to help the water flow on areas where I want it to go. Make sure that your paper is still wet and flowy when doing this step so we can avoid hard edges between colors. Let the watercolor flow and create its own effect and movement. As we go deep into the water, just add indigo in your turquoise mix for a dark toned underwater. For the water, I am playing with just two colors, horizon blue and indigo. I'm altering the proportion of both colors to create either a turquoise mix or a deep dark blue mix. In this stage I kept the coral reef fragment unpainted. To create a semi-defined stroke for the waves above the water, and to create the light rays, I use a synthetic flat brush. I lift the paint by doing a quick diagonal stroke from the light source down. Just make sure that the brush is clean every after stroke. Again, when lifting color to show light rays, create a swift movement, a diagonal stroke from the light source going down. Make sure that your brush is clean every after stroke to avoid staining the paper. The paper should also be wet when doing this step. This is to avoid having hard edges when doing the lifting. Since my paper is still wet, I'm slightly darkening the upper portion of the water to create more contrast on the light rays. While your first layer is still wet, you can still make some adjustments like adding darker tones and more defined strokes that would still smoothly splint on paper when it dries out. You can also use a fine brush to create tiny and very thin light rays. Feel free to put adjustments in tonal value. Add layers of darker colors while your paper is still wet. Once it gets dry, avoid adding some more layers. When you're done, we are ready to proceed on painting the farals. 10. PUnder the sea: Painting the Corals: [MUSIC] Now we proceed by painting the coral. For this fragment, we will be connecting different colors and let the salt create the natural texture for us. Don't forget to be mindful of the tonal value of the corals based on the reference photo. Since this is our foreground, it is also necessary to use creamy mixture of pigment. We slightly pre-wet the fragment with clean water, so colors will easily flow and mix. Replay with different colors like pink, yellow, green, and orange. You can set your paper at a slight angle so that paint would flow naturally. [MUSIC] I start with adding pink and then green, and slightly darkening the lower part of my coral reef using green and indigo. Remember, I'm using a creamy mixture, so that later on after adding the salt, the colors would not be so light and fainted. I add a yellow and burn chana mixture to create an orangey color for the reef. Just simply blend all colors together. To avoid muddy colors, just avoid placing too much layers above each color. When you're done with placing colors, wait for a few moments to let the paint settle in, before gently sprinkling some salt for texture. I suggest that you practice the right timing on placing salt, so that you won't lose and you will be able to maximize the effect of salt. When you're done placing some salt, just leave your paper. Don't touch it yet or don't add paints on it. Let it dry on its own and wait for the effect that it will bring on your paint. [MUSIC] The more salt that you put, the more texture it will bring on your coral reef. [MUSIC] 11. Under The Sea Painting The Fish: [MUSIC] Before removing the salt particles from the paper, make sure that the paper is completely dry. You can use a heater like this one or just let the paper dry on its own. The salt creates a beautiful and unique effect on watercolor leaving this texture on paper. [MUSIC] Once the paper is completely dry, remove the salt particles and finish the painting by removing the masking fluid and defining the fishes with the pigments. [MUSIC] For the fish, use a very thick and creamy pigment. I use yellow ocher and neutral paint for these three fishes and some dots of orange for the small fish. Use your imagination and be creative in what colors you'll use for the sea creatures. [MUSIC] You can also leave small parts of the fish unpainted to separate the fish from the coral reef. [MUSIC] Even for the small fishes, just put a tiny dot leaving still some white spaces instead of covering the entire small dots to show the illusion that these small dots are impression of school of fish. [MUSIC] Play with colors, play with different mixtures just to give life their undersea painting. When you're done with this method in this step, step back and check your work if you need to add anything on your work. [MUSIC] For the last step, since I noticed that the colors of the corals, they are a little bit light, I will slightly pre-wet the area with clean water and add some more layer of colors. When you need to do the same step as mine, make sure not to cover the entire fragment with another layer of colors so you will not lose the salt effect that we have in our first layer. [MUSIC] However, if your coral reef looks already bright and colorful, you don't have to copy and repeat this step. Again, this is only necessary if you're coral reef turned a little bit lighter in tone and you want to bring more lives to your painting. [MUSIC] Be careful also not to overdo your work. So it's important to step back and check from time to time if the layers that you've added are already enough. [MUSIC] Add final touches or highlights on the fish to add additional interests. As we close, I hope you enjoyed our quick journey under the sea. Don't be afraid to try using different references, experiment with techniques, and play with colors. I'm excited to see your undersea painting. Let's explore more what water adventure on our next projects. This is our final work. [MUSIC]. 12. Class Project 2 Boat and Reflection Overview : In our second project, we will be painting a simple boat with a very interesting reflection on rippled water. We will practice painting gradient in water following the rule of perspective. We will also learn the right timing on painting waves, how to draw a boat and the colors used to paint its reflection on water. 13. Boat and Reflection Pencil Sketch: Let's start by deciding where to place the boat. We place it on the middle right side to leave enough space for the reflection. Make sure that the size of the board is proportionate to the size of your paper. Don't forget to draw the big shapes first before diving on the small details. It is helpful to sometimes draw first the outline of the boat starting from top to bottom. You don't have to copy all the details you see in the image. But instead just draw some shapes that could represent the details of the boat, like the floater and ropes. It is also necessary to keep your pencil sketch very light so that it won't show off when we put transparent watercolor. For the reflection and water, just do some soft strokes based on what you see in the reference photo. Make the sketch light and clean. But if you are already done a heavy sketch, you can erase hard lines before proceeding to your painting. This is our pencil sketch. 14. Boat and Reflection: Painting the Water: [MUSIC] For our first wash, we pre-wet the entire paper, except for the boat with clean water, using a mixed curled hair hair brush. Make sure that your paper is evenly wet. [MUSIC] Next, I mix lavender and turquoise and add a lot of water to paint the part of the water farthest to me. [MUSIC] Make the mixture watery so that we can achieve a very light tonal value. Let's start painting from the top going down. [MUSIC] As I paint the portion of the water closer to me, I add a bit of violet on my mixture to have a gradient in tone. Remember the rule in perspective, water far from us is light while water closest to us is dark. [MUSIC] To create the darkest tone, just add indigo on your mixture. Smoothly blend the colors using your flat brush and don't forget to avoid painting the board. [MUSIC] Let the paint settle in for a few minutes, then once the paper is semi wet, I will be painting the waves. For the color of the waves, create a creamy mix of indigo, lavender, and turquoise for the big dark waves in the foreground. For the horizontal thin waves at the background, I will use a light turquoise mix. [MUSIC] Make sure to paint the waves when the paper is still semi wet to avoid hard edges. Create thin fluid lines for the thin waves on the part of the ocean far from us. [MUSIC] For the big waves make each stroke fluid as if you were dancing your brush. Create the rhythm and avoid creating uniform patterns for a more natural impression of waves. [MUSIC] I will also darken some parts of the waves to give depth and dimension. [MUSIC] If you are unsure on the right timing on adding waves, it's necessary to practice on a separate sheet of paper to understand the wetness and moisture of your paper before placing the waves. When the paper is still too wet, as you paint the waves, the pigment would only bleed on the color of water. However, when the paper is already dry, you will create hard edges as you paint the waves. [MUSIC] Thus, the timing is really important before placing the waves to ensure to create and achieve a soft blend in colors between water and the waves. [MUSIC] After this step, let this layer dry completely, then we can proceed on painting the boat. If the paper has already dried and you want to add some more layers of waves, slightly pre-wet that portion of the paper before painting the waves. This is essential for you to avoid having hard edges. [MUSIC] 15. Boat and Reflection: Painting the Boat: When the water fragment is dry, we start with painting the shadow part of the boat with a mix of horizon blue and violet. As I paint over the shadowed part of the boat, I leave the white floaters unpainted, and I will darken the edge of the boat touching the water surface. Always refer to your reference photo so you can properly apply the same tonal value based on the photo. For the darker part of the shadowed portion, just add neutral tint on the mixture that we did for a darker tone. I blend the colors smoothly using my clean synthetic brush. For the lighted side of the boat, I mix a watery mixture of yellow ocher and lavender. Make sure that your pigments are clean to avoid creating unnecessary color mixtures like the one that I had, and it turned out green. I create a light brown mixture for the inner sides of the boat, while for the brown lining on the boat, I simply mix burnt sienna and violet. To show dimensions on the parts of the boat, it is necessary to defer the tones of your use. You don't have to outline each side to show dimension, but rather use a different tone to create dimension for the boat. The brush that I'm using in painting this brown lining of the boat, is Silver Brush Ultra Round Golden Natural. It is a very nice dip, which makes it easy for me to create thin strokes like this one. For the floaters, we show dimension by painting the shadows using neutral tint and lavender. I paint a stripe of color and then use a clean brush to soften the edges. When the layer is dry we can add some dark details for extra interest in the boat. We also need to wait for the board to dry completely before proceeding on painting the reflection. 16. Boat and Reflection: Painting the Reflection: [MUSIC] For the reflection of the boat on water, we use indigo, horizon blue, violet, and paint gray. We create a creamy mix of this color for the dark part of the reflection on water. When I paint the reflection on the left side, I will be using a synthetic brush. It is also helpful if you have a synthetic brush with a pointy tip, so it would be easy to create thin strokes on those parts of the waves that has thin lights. Let's start painting the reflection on the left side. I paint under the boat using my synthetic brush, and then paint over the other parts of the reflection with strokes that are light and fluid. For the reflection on the right side, make it light in color as seen in the reference photo. We mixed a light wash of yellow ocher and horizon blue. Just paint what you see in the reference. Again, it's important to make your strokes gentle and soft. Blend the dark reflection with the light one by meeting each color while the pigment is still wet. You can avoid redoing or overdoing the movement of the reflection on water by checking the reference photo from time to time. You can also add tiny dots and tiny strokes of reflection on water, just as what we see in the reference photo. Just be careful not to overdo your work by checking your paper and your painting from time to time. 17. Boat and Reflection: Painting Details: To finish our painting, we can enhance the shadows and the darks in the boat. We also add some highlights of red to bring accent on our painting. Just remember that when painting highlights and details, it is essential to use thick and buttery pigment to ensure that they would stand out. I hope this exercise help you understand the movement of water, understand the right timing in adding waves on wet paper, and also enjoy placing details and highlights on the main element, as well as painting reflection of the boat on water. When you add a rope on the boat, don't forget to add its reflection on water. Feel free to add anything that you feel that would enhance your painting and don't be limited on what you see on the reference photo. This is our final painting. 18. Class Project 3: Summer Beach Overview: For our next project, we will be painting a summer beach scene on aerial view. Here we will apply dry brush technique to show the texture of rocks and cleave on this side. We will also learn to paint shadows to give dimension on waves, umbrellas, and people by the beach. Lastly, we will paint an aerial view of the clear blue ocean using the techniques that we learned. 19. Summer Beach: Pencil Sketch: Let's start with sketching the width scene. [MUSIC] We highlight a larger space of the paper for the water fragment. So we position the big rocky mountain or the cliff here on the left side. [MUSIC] After this, let's do a line and basic outline of the shoreline and some rough sketches of umbrellas on top view. [MUSIC] As you draw the umbrellas, make them vary in size and not uniformly positioned. You can also sketch the reflected shadows of the umbrellas on the sun after this step. [MUSIC] When you're happy with your basic sketch, we can move on to placing the masking fluid. [MUSIC] So remember, when applying masking fluid, use an old synthetic brush and dip it first in water before dipping it in the masking fluid. Apply a very thin layer of masking fluid only on the umbrellas. [MUSIC] The same thing we do on the white waves of the shoreline. [MUSIC] As it covers the portions of the waves with masking fluid, make the stroke thin and irregular in shape for a natural look of the waves. [MUSIC] When you're done with this step, just let the masking fluid to completely dry up before proceeding to the first wash. 20. Summer Beach Painting the Beach: [MUSIC] Let's start painting by pre-wetting the whole paper with clean water. Make sure that the masking fluid is thoroughly dry before doing this step. [MUSIC] Spread the water evenly and ensure that all parts of the paper are wet. [MUSIC] Now let's paint this end first with yellow ocher, burnt sienna, and a bit of horizon Blue with lots of water. [MUSIC] I paint from the shoreline going down and varying the tonal value of this end by adding some burnt sienna in our mixture. I also slightly darken the sand area by the waves for additional contrast. [MUSIC] You can splatter some paint on the sand area for additional texture. [MUSIC] Next, let's paint the water with horizon blue and a bit of yellow ocher. This is for the portion of the water near the shore. [MUSIC] As you paint this first layer, blend it smoothly with the sand. You can also tilt the paper so the paint will flow down naturally. [MUSIC] We remember the perspective and tone of water in applying colors from the shore, down to the deep waters. The color of the water by the shore is lighter. 21. Summer Beach: Painting the Cliff: [MUSIC] We paint the base of the cliff with burn Shanna and yellow ocher. Again, we do this step while the paper is still wet. To create texture and dimension on the cliff, we alter and play with the two colors to get dark and light tones. We can simply add a bit of violet for a darker brown color to create the shadows. It is very important to work fast while the paper is still wet to create a smooth blend in colors. On this stage, we simply set up the base color of the cliff. All the details will be done after this process. You don't have to copy exactly what you see on the reference photo. But it is important to always refer on your reference photo to get the same tonal value of the picture and apply it to the painting. I also blend in mix of olive green to show a differentiate shade and texture on the cliff. I'm darkening this edge of the cliff just to separate it from the water. Next, I create a very dark and thick brown color to show the shadowed part here under the cliff. I'm creating light strokes for impressions of cracks and textures by using the same dark brown color. But as you do this step, be careful not to overdo the details. Again, we're just playing with the colors yellow ocher, Burn Shanna, and violet to create different shades of brown. Now I shifted to a smaller brush with a pointed tip and add some final touches for my base wash. [MUSIC] 22. Summer Beach: Painting the Details: Now, let's add some details and texture [inaudible] when the segment is already dry. I am using a very small brush [inaudible]. You can dab your finger on the paint to fade out your [inaudible]. A small brush like this one is helpful in creating very thin and fine lines without [inaudible]. For this stage, just keep your strokes thin and irregular [inaudible]. You can also use this brush to do dry brush stroke for a different texture. Just apply what we practiced from the watercolor techniques that we did, and if you need to review how to do it, just feel free to go back on the watercolor techniques video section for your guide. After this step, we will proceed painting the umbrellas and the waves. 23. Summer Beach: Painting the Umbrellas: Before proceeding on painting the umbrellas and weaves, I found a little bit more of details and find patches on that leaf area. For final touches, I prefer using thick and creamy mixture so that the paints will be very highlighted and visible. I paint a little spots for contrast and to define the shape without putting a straight outline of the cliff. Dots here and there would be sufficient to give an impression of the total or the whole size of the cliff. I dub my finger after dubbing also some hints of green pigments in this water area. Just to write the note down, color of this reflection underwater. Next, let's remove the masking fluids so we can paint over the umbrellas and weaves. I choose red colors from my palette, like Indian red, burnt sienna, and turquoise to paint the umbrellas later on. This is a rubber eraser that I got from Japan. You can always use your finger in removing the masking fluid as an alternative. But if you have this rubber eraser, it is more convenient to use for removing masking fluid. For the umbrellas, I will just play with the colors that I have in my palette. I'll be choosing the Indian red, burnt sienna, and turquoise to paint bright colored umbrellas on the shore. I use also a synthetic brush so that I have a controlled amount of water as I paint the details in these umbrellas. Make your mixture very creamy so it would stand out. You can also leave some small white gaps around the umbrella, instead of painting the entire whitespace. You can refer to your reference photo for the color combinations. But you can always feel free to maximize the colors that you have in your palette and not focus too much on copying exactly what you see in the reference photo. What I do here is, I group some number of umbrellas that are red in color. I also place some turquoise color umbrella for a balance of warm and cool colors. Just do this step carefully, enjoy the process, and see how watercolor can bring relaxation also and delight while doing each details. For the shadows reflected on this end, I will mix lavender in a little bit of neutral tint and the yellow ocher, including burnt sienna, to create the color of the shadow. I will paint the reflected shadow next to the umbrellas on its left side just as how I see it in the reference photo. Make your mixture a little bit transparent instead of very thick and creamy mixture. To complete the layers of the umbrella, I paint a darker strip of color on the lower side of the umbrella to show dimension. Carefully, do this step on every umbrella that you have placed in your shore. You can create a darker mix of the color that you used by adding a little bit of neutral tint. For Indian red, I added Indian red with neutral tint or Horizon Blue, Horizon Lucas, neutral tint and for the [inaudible] the same thing. I added a little bit of neutral tint for a darker tone. Our beach painting would not be complete without people enjoying the summer beach. Let's paint impressions of group of people by painting small dots using the excess paint that you have on your palette and also painting reflected shadow on the sand. It's interesting how small details like this add interests and life to our painting. Always remember that when painting any subject in particular, the most important thing is to capture the right tone of values, to capture the emotion or the mood of the scene that you want to paint. We don't have to focus too much on copying the exact details that we see on the reference photo, and we also don't have to limit ourselves on what's given in the reference. Always feel free to add what's in your imagination or anything that you feel that would improve and enhance your painting. I will also add some dots to represent people swimming by the beach. Just be careful not to overdo, so always step back to take a look at your painting. We are almost done with this summer beach class project. But before we end on painting this subject, don't forget, the most important thing also, to enhance the waves on the ocean, we need to add shadows on some parts of the waves to bring dimension and contrast on it. For the shadows of the waves, I will be using a brown color mix, the one that is left on my palette to create contrast under waters. As you paint the shadows of the waves, you can also dab your finger to flatten and to fade out the pigment that you placed. I encourage you to practice painting different seascape on reference photos, and practice the watercolor techniques that we studied in this lesson. In that way you can regain or build confidence in painting water in different forms. Just remember the important principles of the tone and perspective in water so that you can capture the correct colors of your seascape painting. You also play with different techniques like the dry brush technique, salt effect technique, and even the lifting of colors to add interest on your beam things. Here Here I'm adding a little bit of Tia color just to remove the excess white spots in this area of the cliff. This is our final painting. 24. Class Project: Congratulations for finishing my class. Now you are ready to paint your own work. Refer to the downloadable files on our reference section to view our reference photo and final painting for your guide. For the class project, paint the same subjects that I did in the videos. Just follow the same process that I showed step-by-step. Feel free also to go back and rewatch the portions of the videos that you want to review and don't forget to practice your color mixtures and watercolor techniques. I'm excited to see your paintings, so don't forget to upload it on the project gallery of the class. I also invite you to check out my other Skillshare classes on watercolor. It's my joy to teach different interesting classes, which are perfect for beginners, intermediate and experience watercolor is. 25. Encouragement: I hope you enjoyed our quick journey under the sea. Don't forget to try different references, play with colors, an different techniques. Always paint from the heart and paint inspire. God bless you.