Painting Watercolor Trees - Watercolor for Beginners

1. What's in This Class?: Welcome to my watercolor trees painting class. My name is Tamas and I have a great relaxing activity for you. We'll be painting trees a lot. We are going to start with very simple ones, and step by step, I'll show you how to paint more and more complex and also more realistic trees. If you are a beginner, that's great. I explain every single move I make during the lessons. If you are not a beginner, but you like to paint nature related subjects, you will also like this class. And I'm sure you will learn something new. First, we will go through some typical tree shapes and see how sunlight interacts with them. This is essential knowledge in order to create the illusion of three D for the viewer. As a warm up exercise, we'll be painting some very simple trees with only two shades of green. As a next step, you will learn about values. In other words, light and dark tones. You will also learn five different watercolor painting techniques that you can choose from when you are illustrating trees. Then we will play with colors and test what color combinations can work effectively for tree illustration. Finally, we put everything together, and we'll be painting some more sophisticated trees, including an especially challenging one. My hope is that you will not only enjoy painting them, but you will also learn a lot. This part will be quite exciting, not only for beginners, here you can see the tools you need for this project. We'll be using the very basic watercolor painting tools. Nothing really special. Now I hope you are excited to dive into my tree painting session. You see that the skills you learn and practice here won't just help you with trees. I'll see you in the first video. 2. Light & Shadow on Trees: Before we dive into watercolor painting, let's understand real quick how light interacts with a tree shaped object and what shadows the sunlight will create. We will simplify things as much as possible. That's the best way to understand the concept. By the way, this is a simple, inexpensive office paper. At this point, it suits perfectly well for our purpose. I encourage you to draw with me. It will help you memorize things. Let me start off by drawing a circle that will represent the foliage of regular tree. You can use a graphie pencil just like me now in case you are afraid of drawing a circle correctly. Two vertical lines representing the trunk and one horizontal line for the ground plane. I switch to ink just for you to better see what I'm drawing. Good. We have a tree. Now let's see how light interacts with this tree and what shadow the viewer will see on this object. In order to form a convincing shadow, we need to know where the light comes from. The shape of the shadow will depend on the light direction. Let's take a basic lighting scenario where sun rays hit the tree in a 45 degree angle from the left. It's also important to define or observe the relative position of the sun compared to the object and the viewer. I mean, if it's behind the tree or if it's between the tree and the viewer. In this case, let's say, if we project it down the sun position vertically to the ground plane, it would be in the same distance from the viewer like the tree, not behind, not front of the tree, but right next to it. In this case, we can cut the sphere into half like this, and the side where sun rays directly hit the surface will be the light side. The other side of the sphere won't get direct light, so it'll be the dark side. We can also call it the shadow side. Let's mark that shadow with a cross hatching technique like this. We can also find the light side on the trunk like this. I'm using the light direction and projecting this point down to the trunk. The half on the right is in shadow, plus the foliage casts shadow on the left of the trunk. Eventually, we'll see a shadow shape on the trunk like this. Very good. Now let's see what changes if the sun is somewhere between the tree and the viewer. The angle of incidence remains 45 degree, but sun rays hit the tree slightly from the front and from the left, of course. Let's mark the points where the light direction is tangential to the foliage. And because the sun is front of the tree now, the line that separates the light and dark side on a spherical shape will change like this. We get a slight curve. The light side gets larger. By the way, in drawing, this curve is called the terminator. Remember that because I will use this term frequently when talking about shadows. Let me mark the terminator on the other side of the tree with a dashed line. Similarly, on the trunk, the shadow side gets smaller. Plus the foliage casts a shadow here. Now, let's see what the viewer sees if the sunlight hits the tree right from the front. Note that the angle of incidence is still 45 degree. Imagine that the sun is right above us or somewhere behind us. The shadow shape will look something like this. Foliage will cast a shadow like this. Below that, the trunk gets direct light, so it remains light. Now you can see that even if we use the simplest shape possible for our tree illustrations, if we form the shadows right, the viewer will identify these shapes as trees. So if you understand how light and shadow work on simple forms, it will be easier to illustrate more complex objects. Just to make the picture complete, let's see what happens if the sun moves behind the tree from the initial position that we drew first. Interesting enough, we get the curve terminator line, but this time it bends to the other direction. The shadow side will take a form like this. Accordingly, the shadow will take a bigger place on the trunk, too. Finally, let's see what the viewer will see if the sun shines right behind the tree. So the sun is located exactly front of us but behind a tree. The dark side occupies almost the entire shape, at least from the viewing angle where we stand. What happens with the trunk? You can see only its dark side. The light side is on the other side of the tree. This is very basic drawing knowledge, but it can help you a lot with your paintings, not only with trees, but with any more complex forms. 3. Shadows on Typical Tree Shapes: All right. Now let's move on and see what happens with shadows on some slightly different three D forms. So we can get closer to some more realistic tree shapes step by step. In illustrations, this one is a very typical lighting scenario because it creates shadows on the three D forms that read well to the viewer. You can, of course, flip the light direction so it comes from the right. Somehow it makes me more comfortable if the light comes from the left. Feel free to mirror these shapes vertically if you are a left handed person. Anyway, let's see some typical tree shapes other than the sphere and see how the shape of the shadow changes on each of them. Note that we still be using simple shapes to illustrate these trees. Simplification is key to understand concepts. Let's see this one kind of an egg shape. Okay. Remember, from now on, we'll be using this very same light direction. The sun is front of the tree. It shines somewhere from the top left. I mark these two points on the contour line. This is where light direction is tangential to this three D form. From the sphere above, we already know how the terminator bends. We just need to align it to this elongated shape like this. It's pretty similar to the sphere. On the trunk, we won't see much difference. Very good. Now, let's squeeze the sphere like this. Another very typical tree shape. I hope you already know what shadow we will see. The terminator will be placed over here. I'm projecting the foliage down to the trunk by using the light direction, of course, and the dark side will look like this over here. Now, let's see a noticeably different shape. Imagine a pine tree. We can illustrate it with a cone which looks like a triangle in two D. Assuming the same light direction. The dark side will take a form like this. Well, we might see a very little light on the trunk in this case, depending on how wide the bottom of the foliage is. Good. Now, how can we transform this cone shape? The contour line may bend like this. How does this affect the shadow shape? Well, the terminator a bend similar to the contour line like this. The logic on the trunk doesn't change. It's still a cylinder form in the Srety space. Good. Now, let's mix these two types together in some way. I'm drawing a kind of mushroom shape. The form of the shadow gets tricky in this case. It will look like this. The trunk seems to be in shadow entirely. This form is mainly spherical. It's just cut in half. What else? Let's draw a mixture again. This part at the top reminds us a cone, so I mark the terminator accordingly. This lower part is much like an X shape, so I copy the shadow curve from that shape and connect the two. You'll see this is how more complex forms build up from simple shapes. If you know how the simple ones behave, you'll be in no trouble with the more difficult ones because we can always break down more complex subjects to simple ones. The shadow on the trunk is as usual. Now, let's take this form and build up a pine tree based on that. Something like this. This top section is easy. We already know what's happening here. The second level has the same form. It's just a bit bigger. So I draw a similar shadow shape. What makes things a bit more complex here is that the top part casts a shadow. I take the light direction and I'm drawing a cashadow like this. Eventually, the final shadow on the middle section will be the union of the two like this. Same thing with the bottom section. I hope it makes sense. It's all logical. The trunk doesn't seem to get direct light, so I'm making it dark entirely. Awesome. We are making progress here. Finally, let's take our initial form and build up a tree from different sizes of circles. Like this. Notice that these circles overlap each other. This section is the closest to the viewer. No other objects blocks the light, so we already know what shadow shape the viewer will see. What about this one? It has the very same terminator line, but as it is in the background, covered by another section, the shadow shape will look like this. We see just a fraction of it. Similarly on this one at the top, and so on. I'm drawing the shadows based on the same logic on each section. This last one doesn't get direct light, so it's all in shadow. Now, if you don't want to make things more complicated, you can leave the tree like this. The viewer has enough information to translate it. But if we want to be more realistic, we can analyze what cast shadows the different sections possibly make on the other sections. For example, this one creates a cast shadow on the other section like this. So the light side on this one will be pretty limited. Furthermore, this upper one may also cast a shadow over here. So we will have a pretty tiny light area on this side of the tree. Also, this top section may cast a little shadow over this one. The trunk is easy. And we are done. A more complex tree form that consists of several different sections will look something like this. Very good. I know you are already eager to paint these shadows now, and that's exactly what we are going to do in the next video. I'll see you there. 4. Shadow Shapes: The Base Layer: Right, it's time to do some warm up painting exercise. This time, I'll be using an inexpensive 190 GSM thin watercolor paper. For the drawing part, I'll be using this pigma micron archival ink, size all five, but the thickness is not important here. What's important is that the ink has to be water resistant. You can also use a pencil to draw these trees if you don't have an ink like that at hand. If you are not a beginner, you can even skip the drawing part. But having those guidelines can give you some confidence when we actually paint these trees. For the painting part, I'll be using the sap green color, which is a dark shade of green, but you can use any other dark hue whatever you like. In this lesson, we'll be focusing on shapes. Colors will come in another lesson. We'll be drawing and painting nine trees, three in each row. So I try to distribute things accordingly. Let's draw the first one over here. This is a regular circle shape. The second one will be an oval like this. It's pair, the squeezed one will look like this. We were having a cone shaped tree. Let's see its convex version, when the contour lines on the sides bend inwards. The mushroom like shape. Notice that I'm drawing with very loose strokes. No need to feel any pressure to draw perfect shapes now, okay? These are just sketches we are practicing. The mixed shape with a cone at the top and an ovoid at the bottom. A pine tree And finally, the compound shape. Looking something like this. Very good. Now let me arrange the twos on my desk. My water container, a mixing pallet, size eight round brush, whatever size you have, we'll do and the paper towel. Let's make our brush wet and squeeze the air bubbles out. And I'm taking a little from my dark green paint. Let me put some more into this tray. Let's dilute the paint on the left. I'd like to get a very light shade of green that will be used to represent the light side on our shapes. Something like this. Now, let's fill in our shapes with this light grain. I try to use as few brush strokes as I can to create a nice even amount of paint on this first layer. I also try to stay inside my shapes. This is a very good warm up exercise for your hand muscles. M. Just two brush strokes for this shape. Very good. We are filling in these shapes with a wonderful light green colour. Like so. O. Perfect. I'm rinsing my brush because now I have to wait for a few minutes. This first layer of paint has to be completely dry before we paint the shadow shapes with a dark shade. I'm using a hair dryer to speed up the process. Y. 5. The Dark Side: Now let's take the shadow map that we prepared in the previous lesson and see what shadow shape we have to paint for our first tree. All right, my paper is dry enough to paint the second layer using this dark shade of green. Very good. I think I'm adding some more paint here to make it darker. I'd like to see a significant difference between light and dark sides. Something like this. Let's paint a shadow on the trunk. And we can paint a ground plane too with just a simple brush stroke like this. In the meantime, I'm using my paper towel to lift off some excess water from my brush and making another move with a dry brush like this. Awesome. A very expressive ground plane. Now let's check our shadow map again to see what we need for this egg shaped tree. Be careful not to touch your freshly painted tree with the shadow map. Nice. Let's move on. I follow through the line of the case shadow of the foliage. And here we go. We have a sir tree with its shadow. What about the cone shape? The trunk will be in shadow entirely. Et's move on to the next one. Let's see this mushroom shape. Good. How about this one? Mm. Very good. Okay, now let's see the more challenging pine tree. My previous trees are dry enough to place my shadow map over here, but be careful not to ruin your paintings. This one needs a bit more precision, more control over your brush strokes, but you can deal with it, right? And the last one. I'm starting with the biggest shape. Moving on to this one. I'm paying attention to which shape cover a switch. Mm hmm. A cache shadow over here. The dark side over here. And another cache shadow close to the big sphere. This bottom section is almost in shadow entirely. Let's project the foliage to the trunk. And we are done. We have painted nine different simplified tree shapes with their shadows. In the next lesson, we are going to take one step further to realistic painting. You will learn about values and how to use them with your trees. I'll see you in the next video. A 6. Values: What are values in art? In short, the value refers to the lightness or darkness of a surface. It's a fundamental element that creates the illusion of three dimensional form on a two dimensional surface like your paper that you draw or paint on. But let's see what this means in practice and how we can use values to make our tree illustration more realistic. Let's draw a simple tree shape with an archival pen or with a pencil. Et's define the lie direction. I'm marking the terminator with dash lines. Remember, this curve separates the dark side from the light side on the form. Let me draw it on the trunk, too. Um, This part right below the foliage is the cast shadow. Note that in the previous lesson, we oversimplified the light and shadow illustration and used only two values on those trees, a light green for the light side and a dark green for the dark side. In reality, on the curved surfaces, there is a gradual transition between dark and light values. I'm marking the curvature of the surface here with arrows. The lower section is dark and it gradually gets lighter towards the light side. Note that this is still a simplification as on a regular spherical surface, the shadow pattern is a bit more complex than that. But for our purpose, this simplified approach will work just fine. Now on the light side, there is a special place, a shiny spot somewhere here. This is the spot where the object reflects the most light towards the viewer. It's called the high light. Basically, it's the reflection of the light source itself. Now let's see how we can use values to improve our tree illustration. To understand values, it's best to start in black and white. So I'm taking some black paint. Adding a bit of water, cleaning my brush. And filling it up with a little paint, just a tip of the brush. Now, I try to create a transition from very dark through different shades of gray to almost paper white. Now, this gradation is called the value scale, containing infinite amount of different shades or values between pitch black and clear white. We can group these values in three categories. The dark, the middle tone, and the light. Let's pick a value from each group and fill in these rectangles. Okay. You can lighten the black by diluting it with some water. The more water we add, the more lighter value we get. You can lift off some pigments here with a relatively dry brush. What did we do? We simplified the value scale that contained countless number of different values into a very limited three value value scale. I try to distribute these three values evenly, meaning that they have a similar distance from each other on the full value scale. Now, let's implement these values on our tree. I'm starting with the light tone, leaving the highlight spot paper white. I'm trying to paint with the mid tone over here. And We can go all the way down. By using some extra water on the brush, I'm mixing the mid tone with the light one over here. Now let's take the darkest dark paint that we have and make some brush strokes at the bottom over here. As we are working with plenty of water, the different shades mix together nicely and we get a relatively smooth transition between the three values. Let's use the darkest dark on the trunk's dark side. I'm marking the ground like this, laying down a cast shadow cast by the tree itself. We can take it even darker over here. I'm cleaning my brush on the paper towel, rinsing out and with very few pigments on it. I'm painting the light side on the trunk too. Maybe that's too much water there. We have a bit more sophisticated tree illustration where we were using values to create the illusion of depth on the two dimensional paper. This can be taken much further, of course, but this is a good start. In the next lesson, we'll be practicing these value transitions by using different watercolor brush techniques. See you in the next video. 7. Bursh Techniques: Wet on Wet & Dry: Now let's see five different painting techniques that you can choose from when you illustrate value changes on the tree shape. We will have a light source, the sun right here in the middle. Let's draw a simple tree shape, one for each brush technique. I also marked a light direction with an arrow. Let's draw another tree over here. This will get the light in a slightly different angle. And I'm drawing all the other tree shapes in advance so we won't have to interrupt our painting session. Very good. Let's mark the terminator on each foliage based on the given light direction, of course, something like this. This time, I'll be using my sap green to paint these trees. I'm wetting my size eight Run brush, taking some dark green paint directly from the pen, and adding some water to it. Try to get a paint consistency like this. I have a pretty dark green paint on my brush, and I'm making a simple brush stroke like this. Now, I'm cleaning my brush on the paper towel, wetting my brush a little, and making some further brush strokes like this. Lifting off some excess water on the paper towel and continue like this. I'm squeezing the brush a little, then making a few more very light brush strokes. And we have a nice value transition for the foliage. Now I'm taking a little dark green and painting the shadow on the trunk. I may need more dark here. A brush stroke for the ground plane, and we are done with our first tree where we were using the wet on dry watercolor brush technique. The wet refers to our brush, as it contained significant amount of water along with the paint, and the dry refers to our paper, which was absolutely dry when we first applied the paint on it. Let me mark the three main values that we were and we'll be using for these trees. We can see the dark tone over here, the mid tone over here, and this is the lightest area. I might add some extra dark to the trunk and the ground plane. And with the damp brush, I'm filling in the light side on the trunk. Very good. So this is how you can paint a simple tree with the wet on dry technique very quickly. Now, let's see the wet on wet technique. You may find out that this time the paper will also be wet just like our brush. So let's prepare the paper surface with a wet brush like this. My rinse water has a light shade of green by now, but that's okay. We are working with green paint only. I'm showing you the amount of water that I have on my paper. It's glimmering like this if you look at it in a certain angle. The amount of water you use depends on the thickness and quality of your paper. This is a relatively thin paper, so I use relatively less water. Otherwise, it will get bumpy. Less water also means that the surface dries faster. If you have a thicker watercolor paper, you can use more water on it. The paper will stay damp longer, so you will have more time to apply the paint. Anyway, I have to be quick, so I'm taking a little green, adding a little water to the brush, and touching the wet paper surface like this. Maybe it's too much water on my brush, so I lift the paint off on my paper towel. I'm taking more paint and adding it to the wet paper surface over the terminator. Or dark paint on the brush and painting the dark side like this. As the paper surface is wet, pigments can spread nicely. A smooth gradation will appear. If you feel like you need less moisture, use the paper towel. If you need more moisture, you take some water from the container. If you want a darker shade, you take some extra paint. If you need the darkest dark, you take some paint directly from your pen. With some gentle touches like this, you can also drive the paint on the tree. But by using the wet on wet technique, it's best to let the water and physics do their job. Alternatively, you can tilt the paper and use gravity to move the pigments in the direction you want. This way, there will be no sign of brush strokes and you can get a very smooth and natural value transition. Some extra paint on the trunk. And here comes the ground plane. With the wet on wet technique, you can create a very lifelike foliage pattern where light and dark areas surround each other in a natural manner. Awesome. 8. Dry Brush, Dabbing & Expressive: Now let's see the so called dry brush technique. When you use this technique, the paper is obviously dry and as far as the brush concerns, we need very little moisture on it. I'm testing these brush strokes on a spare paper. Uh huh. Now, let's add a bit of water to the brush. That's not what I want. Now, there is too much moisture on the bristles. Let me use another brush. This one is an old one and its bristles are not in the best condition. In fact, this is working to my advantage now. The challenge here is that the light paint contains plenty of water, but we need less fluid consistency. Anyway, I'm trying to create the value transition that we have already learned. My brush is basically dry. Only the tip of the bristles contains some paint. Uh. I need more dark green in my mixture, so I'm using my other brush to add some more to it. Let's get back to my dry brush and paint the dark side of the foliage. The trunk, and the ground. No. Something like this. I'll be honest, I'd rather like to use the wet techniques because that's where watercolor really shines. But occasionally, we need the dry brush technique, so it's good to know about it. Now, let's see another technique called dabbing. This time, I'll be using a relatively thin brush the size too. My paper is dry, and it's up to you how much water you add to your brush. The point is that you use its tip to lay down the paint on the paper in a diversified manner. I'm tapping. I'm touching the paper with the tip of my brush in random direction and with various strength. This way, you can create the illusion of the leaves relatively quickly. By using darker and darker paint, we can create the desired value transition that the foliage should follow. More dark at the bottom. By adding some water, we can take it lighter again. If it's still dark, you can lift off some moisture on the paper towel. I move on to the trunk and the ground. H. And that's it. With the dabbing technique, you can create a tree like this. Now I'm mixing some dark green for the next technique that you can call expressive style. I'm showing you. With some very dark paint on my brush, I'm making a few brush strokes like this. Not that I'm staying on the dark side of the tree. Don't think too much. Just pull the brush back and forth quickly. Now I'm cleaning my brush on the paper towel as much as I can. Now, let's add some water to the brush, and with similar movement, dilute the dark paint with water and let it blend organically. Add further water to your brush as needed. We can add some extra dark with a relatively dry brush at the end. Very good. I like this technique a lot. You can create very nice effects relatively fast. All right. In the next lesson, we are going to explore some very exciting color combinations that you can use to paint your own stunning trees. See you in the next video. 9. Color Combinations: Preparation: Let's go one step further and see what color combinations can work beautifully for tree illustrations. We'll be painting nine different trees in three rows, three trees in each row. The painting part will be very quick and loose. We are going to use only a few brush strokes for each tree. The focus will be on the color combinations and see how well certain colors can work together next to each other. In the meantime, you will have plenty of opportunities to practice the wet on wet watercolor technique in order to gain more confidence in using. Let's draw the simple tree shapes quickly. I'm using my archival ink, which is water resistant, of course. To make things more interesting, I thought I'll be showing you some outline styles that you can choose from when you draw your own trees in the future. To make the drawing process easier, let's draw the circles with pencil first, so we will have a guideline for the ink drawing. Distribute them something like this. Oh. Good. The first line style will look like this. I'm drawing semicircles with gaps. They are kind of bumps, but I try to draw them with identical size. This is also a great drawing exercise that can develop your muscle control in your fingers. So I encourage you not to skip this part. Good. Now for the next one, let's alternate the size of the pumps. Like so. Now, let's draw a kind of gear wheel. The teeth are supposed to be with the same size. This one is pretty challenging for me, but that's okay. I like to push my boundaries. Now, let's alternate the sizes. Okay. Okay. Now, let's throw triangle shapes like this. It Looks good. Now, let's try an outline like this. It's a kind of fur. It will be some tropical fluffy tree. That's show similar one, but with rounded tips on the outline. Finally, let's scribble when we draw this outline. This is a very intuitive outline type. Don't think about it. Just let your fingers move. Awesome. We have nine tree shapes with different outlines. Now it's time to paint them with wonderful color combinations. But before that, let's erase the pencil marks. Now, let me arrange my desk. I'll be using a relatively big round brush. This is size 12. I'm using a water pump like this to activate the pigments in the bans. Yes. 10. Green & Warm Color Combos: We'll be using the wet on wet technique, so I paint the foliage with clean water on my brush. As far as the paint is concerned, we'll be matching three different colors with the three values that we have learned about. One for the light tone, one for the mid tone, and one for the dark tone. I'm taking the first color, which is going to be cadmium lemon. We need very little paint just on the tip of the brush. Cadmium lemon is a bright, vibrant, cool yellow as it has some minor green undertones. Feel free to use any similar hues to the ones that I use in this lesson. Note that there is no global standard for naming conventions. Different brands may have different names for the very same color. The painting process will look like this. We apply the paint. We clean the brush on the paper towel. We rinse the brush in water and we take the next color, which is may green in this case. This is a beautiful yellowish green paint. In case you don't have this color, you can mix it by adding some yellow to your dark green. This will be our mid tone, and I'm taking a little sap green for the dark side, something like this. Sap green is a mid range green with a yellow undertone. I let the paints blend on their own. It's a good practice to mark the colors that we used right next to our painting. You know, just for later reference. Sometimes it's not so obvious what paint we use just by looking at it as we diluted the paint or mix them. O. For the trunk, I'm using a Siena, which is a bright brown Earth color with a yellow undertone. U By using some clean water on your brush, you can create some transition effect between light and dark shades. In this case, on the trunk. Very good. So this would be our first color combination. Let's not forget to make those notes about the paints we use. Now let's move on to the next one. As a first step, I'm wetting the paper because as we discussed, we are going to use the wet on wet technique. This technique will ensure a nice blending and transition between different colors. For our second tree, I'll be using cadmium yellow medium for the light side, leaving some paper white between my brush strokes. If there is too much water there, we can lift some off. This one is called golden, which is kind of an orange color. Okay. For the dark, I'm using carmine, which is a deep red colour that has a slight purple in it. For the trunk, I'm using burnt sienna, which is a rich brown pigment. Yeah. Very good. We have another eye catching color combination. Let's take another one. Exploring colors is a very relaxing activity itself, but I guess it gets even more interesting if we fell in some shapes. In our case, these trees. This time, I'm taking some titan red paint and diluting it with water. Titan red is a dark and orange color. It's kind of a transition between orange and brown. With a relatively dry brush, I'm lifting off some excess water and paint from the paper. So this would be the light tone for this tree. Now I'm taking titan red directly from the pen, which will be the mid tone value. I'm playing with the dabbing and lifting technique to get the desired result, which is a wonderful blending, as you can see. Yeah Now for the dark tone, I'm taking a bit of carmine again, just like for the previous tree. Like so. Titan red and carmine are pretty close to each other on the color wheel so they can create a so called analogous color harmony. For the trunk, I'll be using burnt amber, which is a rich dark brown pigment made from natural brown clay. It's a perfect paint for landscape painting. Now I'm using a clean damp brush to create the gradient from the dark paint. One or two brush strokes, and you get fascinating outcome. It's as simple as that. Let's not forget our notes. 11. Dominating Browns: Now for the next tree, we'll be using different shades of brown. My water is far from clean by now, but that's okay. It will work just fine for these shades. The light tone will be a diluted rosiena that we have already used on our first tree. The midtone will be its less diluted version. And the dark tone will be sepia, which is a reddish brown colour, a warm neutral hue. Here I'm using a very dark version of it. You can experiment with a lighter version if you want to by adding a bit of water to. Yeah. We for the next one. I'm starting with cadmium lemon that we already know from the first tree. The mid tone value will be erosion at this time. Right. And the dark tone will be the so called mars brown. It's a deep, reddish brown, pretty close to burnt amber on the color wheel. Watch how beautifully pigments can travel on this wet surface. All right. Now let's try another combination. It will be cadmium lemon for the light side. Note that this time, I didn't wet the paper with clean water beforehand by using a diluted initial color is an alternative to provide a wet surface for the next colors. I try out this orange for the mid tone. And I'll be using Mars Brown again for the dark value. Good. 12. The Pink Color Combo: Now for the next tree, I'll be mixing some pink colour. And because of that, I guess it's time to change my container to another one that holds clean water. You can mix pink by using white and some red paint. My white is called titan white. Use whatever white paint you have. Why? For the red part, I'll be using the so called Ruby, which is a strong red color with a little purple undertone. On the color wheel, it's pretty close to quinacridone red and quinacridone scarlet in case you have those ones. Now with a touch of ruby in the white paint, we can get a nice pink shade, something like this. Okay. Now, I'm adding some more ruby to the white and move forward towards the dark side of the tree. For the dark is dark, I'll be using the so called Meadow Lake red light taken directly from the pan. This paint is a cool, bluish red, vibrant, deep colour that is pretty close to Ruby. Now for the trunk and the ground, I dilute some paints gray. Okay. Mm. Fantastic. This is how you don't want to dilute your paint right above your work. I managed to mess up my cadmium lemon sample right in the middle. Let's see what I can do about it. The prompt action should be to take a clean paper towel and try to mop up the paint from the paper. Now it seems I'm late. So I'm wetting the surface with clean water to reactivate pigments. And now I tried to mop up. Let's try again. It seems it's not working well. What you need to know about an accident like this is that each paint has its own so called staining property. Some paints sink deeply into the papers fibers and are difficult to lift or remove. Some paints are somewhat in the middle, and certain paints can be removed easily. Your chances also depend on the paper type you use and the time that has spent between the application and the removal trial. Anyway, I'm not going to spend more time on this. Let's move on to the next tree. It's best not to take a mistake like this. 13. Dominating Cool Colors: For this one, I'm going to start with cadmium yellow medium. And I'm also adding some more saturated paint right from the pan. The mid tone value will be discovered Turquoisblue, which is an intense blend of blue and guy pins. Note that if you don't have any turquoise color, you can try to mix one from blue, green, yellow and white paints, but it's easier to keep a vibrant one in your palette. Well, we have an issue here. The previous wet on wet technique won't work this time, and the reason is that by mixing yellow with turquoise blue, we result to greenish color, which wasn't my original plan here. So I'm lifting the turquoise with a try brush. And adding back some cadmium yellow. Now, we should wait for a completely dry yellow surface before we move on. But on the other hand, if you wait for it, then blending won't happen between the two colors. I go with an intermediate solution. The yellow is somewhat dry but not entirely. I'm applying the turquoise carefully, hoping that we get a less greenish mixture, but we still have some bleeding effect between the two colors. Now you know what to expect when these two colors are next to each other. Anyway, for the dc tone, I'll be using cobalt blue, which is a vibrant, clean blue paint. Ultimately, that green tinted turquoise is not an issue at all, as I'm looking at the foliage now. For the trunk, let's use paints gray again. By the way, this paint is a dark blue gray color, great alternative for black. Now, the last one, let's start with that cobalt turquoise blue with a diluted version of it. For the mid tone, I'll be using violet, which color is between blue and red on the color wheel. My paper surface is still wet, so I can play with the paints. For the dark, I'll be using Indigo, which is not far from violet, but it has more blue component in it, and it's also less saturated. M. These three colors seems to be an effective combination. Actually, there are trees with colors like this. The trunk will be painted with paints gray again. And we are done. Yeah. I hope you enjoy this experiment with different color combinations. I encourage you to explore some more. I can't wait to see them. In the following lessons, we will put everything together and paint some more complex trees. See you in the next video. 14. The Autumn Tree: Shadow Map: In this lesson, we'll be painting this colorful tree from start to finish. First, we are going to draw a value map on the left, then we are going to paint a tree on the right. I'll be using a paper size that is close to A five, which is have the size of a normal office paper, A four or letter size. This time, I'll be using a better quality paper. It's a 300 GSM or 140 BS, 100% cotton based cod pressed watercolor paper. Let me start off by drawing the rough shape of our tree with an ink. I suggest you to watch what kind of outline I'm drawing, then pause the video and draw something similar. The overall shape will be a kind of regular tree shape. Within that shape, I'm trying to be random with the details. This time, we are going to make the tree more interesting by adding some visible branches right below the foliage. And some detached smaller sections here and there. Also some parts of the trunk will be visible inside. All right. Now you can pause the video and catch up with your drawing. Good. Now let's lay down a value map inside the foliage. As usual, we'll be using three different values. This time, we'll be using the paper white for the light value and crosshatching with two different densities, one for the mid tone, and one for the dark value. In real life, the curve of the terminator, remember the line that separates the light side from the dark won't be a nice continuous curve as a tree has more like an irregular shape. So I'm drawing a zigzag like this. As we'll be using three different values, I'm creating three irregular sections. Now let's mark the values. The trunk will have the dark tone. Maybe at the bottom, close to the ground, it gets some light. This meadow section will have the mid tone. And this bottom part will get the less light. It will be the darkest. I left some small light areas for branches that stick out from the foliage. Similarly, we can create some darker areas on the light side to make the tree look more realistic. I guess we are done with the value map. 15. The Autumn Tree: The Outline: Now let's start working on our painted tree on the right. I'm using a line style like this for the outline. I'm also trying to add some diversity to the overall shape. To be honest, I'm using a reference photo that I took a few days ago about a tree that I found interesting. But just for the overall character, with the details, I'm trying to be creative and draw what my intuition dictates. Okay. Now let's move on to the trunk. In the meantime, I'm adding some details to the foliage. M. Some undergrowth around the tree. I'm starting adding details inside. I'm drawing the value separators with a very thin line. Further details here and there. Mm. I guess we have a nice ink drawing as a base for the upcoming painting session. Now let me arrange my desk so you can see what's important. I'll be using a size two run brush. Warm colours will dominate on our tree. The light tone will be decadmium yellow medium. I'm diluting it and laying down the first layer of paint. As we move downwards and to the right, we can gradually take it darker. Mm hmm. As we are painting with the lightest color now, we can move into the other two sections. This yellow paint will blend nicely with the darker colors, and also it will provide a damp surface, so we will be able to paint with the wet on wet technique later. Not that inside the foliage, I'm leaving those small sections paper white. 16. The Autumn Tree: Layers: Very good. We have our first layer of paint, and we have a nice damp surface on the paper. Now we are going to build up the mid tone with this orange paint. I'm adding a bit of water to it and start touching the middle section with the brush like this. There is no need for actual brush strokes as the surface is wet. We can add some orange to the lower section too. And we can also touch the light side gently here and there. But it's important to let the yellow dominate here. Now I'm creating some darker spots with this orange. A I'm cleaning my brush, and we can take the surtne or value, which will be the carmine. You can use any other deep red paint, whatever you have. This red colour will be dominant in the lower section. I'm moving upwards, but making sure that I'm using less and less red paint. Let's add some more dark to the lower section. Note that the final outcome will depend on how much water you use during the painting process. There is no right or wrong amount of water. If there is more moisture on the paper, the colour transitions will be softer. If you let it dry a bit, you can create more definition with your paints. I guess I can add more dark closer to the center of the tree. With a clean and slightly damp brush, you can lift off some paint if you think it's too much. The foliage looks good to me in the first round. So let's move on to the trunk and the branches. I'll be using raw sienna as a base layer there. Okay. If the paper is relatively dry inside the foliage, you can also paint these inner branches. 17. The Autumn Tree: More Darks: Now let's use some dark brown to paint the shadows on the trunk. Mine is called mass brown. As the light comes from the left, the right side of the trunk will be darker. Inside the foliage, the branches will definitely be darker. We can also add some brown to the bottom section of the foliage. Now, if you want to, you can stop at this point. But as the paint has dried on the light side of the tree and it seems a bit pale, I think I would add some more saturated yellow there. So with the dabbing technique, I'm adding some less diluted cadmium yellow to the top section. Similarly, I make the carmen a bit stronger here and there. Let's not forget the mid tone. Oh. Something like that. For the trunk and the ground, I used Rosina And Marse brown. I'm adding some finer touches with the dark brown. Watercolor paint usually gets lighter when it dries, so I usually add some more dark at the end. All right. I guess we are done with this autumn tree. But let's not forget our notes about the colors we used. If you enjoyed painting this tree, I have two more for you. But before you move on, don't forget to upload your wonderful piece in the project section. It would be great to see that. See you in the next video. 18. The Pine Tree: Shadow Map, Outline: In this lesson, we'll be painting this pine tree by using cool colors this time. The process will be the same. We'll be drawing a value map on the left and painting the actual tree on the right. Let's draw a pine tree real quick. The branches will have five levels. Now, let's recall the shadow pattern that we have on a shape like this. Each shadow section consists of two parts. One on the left is the case shadow cast by the section directly above. The other part is the dark side that originates from the shape of the tree. These two parts add up and create the shadow shape on each level. Of course, the top level is an exception. There is no case shadow there. The trunk itself probably won't get any direct light. And, of course, in reality, we have darker spots on the light side too. Very good. Now, let's draw our pine tree sketch for the painting. I'm trying to draw with light ink strokes. Five levels of branches. Oh. Now, let's project the top of the tree down, so we place the trunk right in the middle horizontally. Maybe I could have taken the trunk a bit narrower, but that's how it is now. Okay. Okay, I've arranged my tos. This time, I'll be using a size eight run brush. I'll be painting the light tone with cobot turquoise blue. This may green will be the mid tone. And with sap green, we'll be painting the shadows. Okay. 19. The Pine Tree: Three Layers: Let's dilute some cobalt turquoise and start applying the first layer. I'm leaving some paper white gaps here and there. Now I'm taking some darker shade and touching the surface to create some variety. Now I'm cleaning my brush for the next color. Maybe there is too much water at some places, so I'm lifting it off. M Now, I'm taking some may green paint. This is a wonderful yellowish green colour. You can easily mix one from dark green by adding a touch of yellow to it in case you don't have this color out of the plate. Now, let's apply our middle tone. Very nice. I'm cleaning my brush and making the samp ties right next to my tree. Let me show you the moisture level of my paper. This is the glimmering that you want to see when you use the wet on wet technique. Perfect. We can move on to the shadow side. I'm checking my value map on the left and creating those shadow shapes with my dark green paint. I'm trying to be consistent with the direction of these cast shadow curves on each level. Uh huh. I can add more dark, I guess. Okay. 20. The Pine Tree: Darker Shadows: Let me tear the paper a bit so gravity can pull pigments downwards while the surface is still wet. Now, let's make these curves more realistic. I'm lifting off some dark paint as sunlight can probably shine through the upper level, which would make the case shadow less dark here and there. Now, let's add some darker spots to the light side. This is a slightly diluted sap green. Let's make the ground clean. Now I'm taking some really dark green directly from the pen and marking the places that get the last light. Now is the time to switch to my smaller size to Run brush. I need more precision here. H. So I'm basically increasing the contrast on my painting. In other words, I'm increasing the distance between my darkest and lightest values. This will be a very dramatic shadow on the tree. You can always decide how far you go with your dark Now, let's move on to the trunk. I'll be using paint scray to paint a neutral layer over here. I'm painting with a very creamy or dense consistency here. I'm wetting my brush and paint the light side. Something like this. Okay. With a clean and damp brush, I'm making some corrections on the shadows. And let's paint the cast shadow for the tree itself with paints gray. Let's mark our dark colors too for later reference. 21. The Pine Tree: More Realism: Now I'm adding more doc to the trunk. And the second layer to the cash shadow. Now, let's complete our notes. I guess I'm adding some more saturated cupboard turquoise to the light side. And I think I should create a smoother transition over here. So with a clean and damp brush, I'm pulling some dark shade downwards. One or two touches with the make green. And I think I stop at this point. After my painting has tried, I'd look at it with fresh eyes, and I felt that the shadow is just too much in its current state. So let's see what I can do about it with a clean and damp brush. I'm reactivating the pigments here. I'm going over the surface gently. Now I mop up my brush and lift off some paints. Like so. With some slight rubbing, you can soften the transition too. I clean my brush frequently on the paper towel. 22. The Pine Tree: Final Touches: Same technique one level up. So basically, I'm removing some dark green from the paper so the shadow gets smaller and become less dominant. I reactivate the paint with some water and lift off. Now, I'm adding a little bit of dark back where it's needed with my size two round brush. I guess the pine tree looks better now. Finally, let me add some saturated cobot turquoise to the light side. Y Also some may green touches here and there. Really. Maybe this lower branch should cast a shadow over here. So let's fix it. Y. Very good. Now I consider my pine tree completed. I hope you have also painted something great. Don't forget to upload it in the project section. I'll be happy to give you some feedback on it. In the next lesson, we are going to paint a very special tree. It will take more effort, but it will worth the time, I think. See you in the next video. 23. Jacaranda Tree: The Pencil Sketch: In this lesson, we'll be painting this fascinating tree. It's called Jacaranda, which is a subtropical tree native to South America. This time, the drawing and painting process will take more time as this tree has a quite complex shape, but hopefully you will enjoy working on it. As we are going to paint some background too, I tape down my watercolor paper on a paperboard like this. This will help me tilt the surface if I need to. To prepare our sketch, we'll be using a graphite pencil. This has a four H grade, which means it's more like hard than soft. This will help me make light strokes on the paper. You will also need an eraser. We will place the tree foliage over here and the trunk over here on some ground plane. The foliage will consist of plenty of spherical sections that organize in groups. This is one of the things that makes this tree so interesting. What is also important is the overall shape of the foliage. Let's form it with the pencil. There will be groups with different shapes. I'm drawing with very light strokes, but I hope the shape still can be seen on the camera. Try to create an irregular outline. It will make the tree look more interesting. If you'd like to see a clearer look of my sketch, just watch the video for a few minutes until I finish, then draw your own tree. This time, the shape of the trunk will also has importance on the final painting. All sorts of branches will be winding around. Bigger and smaller overlapping spherical shapes will build up the foliage, and there will be some gaps between them. These spherical shapes don't have to be perfect at all. On the contrary, push them, squeeze them, whatever you like. In the meantime, I'm erasing the lines that are covered by other shapes that are closer to the viewer. This part takes some time, but it will be more fun and less stressful to paint once we have these guidelines. The cross hatch areas will be dark shapes, kind of inner parts of the foliage. Okay. I'm consequently removing the lines that I don't need. Okay. Now, I'm thinking ahead a bit and darkening only those section lines that bound dark areas on the final painting. 24. Sketch with the Trunk: I'm drawing over the outlines of those dark intersections in the foliage I talked about. And the tree is taking its final form step by step. It looks good to me. Now, let's move on to the trunk and it's twisted branches. I'm using a reference photo, but I don't follow the forms convulsively. In reality, the tree is more complex than this. I'm trying to make simplifications. M. Very good. Let's place two ropes over here. Mm. I guess I have my sketch ready. Now you can pose the video if you haven't drawn your sketch. Before the painting session, I remove as much graphite as I can, especially on those places where the sunlight hits the surface. But of course, some light guidelines remain. All right. Phase one is complete. Now we can start painting the background. 25. Paint the Sky Background: The reason we start with the background is that I plan it to be a pretty light blue shade. And in watercolor painting, it's a good practice to start with the lighter color or tone if it borders a darker area, which will be our tree in this case. I plan to use three different sizes of run brushes, a size 12 for the background, a size eight for the most part, and a size two for the tiny details. For the background, we'll be wetting the paper first with the large brush. I'm using plenty of water to make the surface damp. This technique requires a good quality, relatively thick paper, and it needs to be stretched. Make sure you don't go inside the outline of the tree. I'm using the tiff of my large brush where I need precision. Depending the humidity level of your room, you may need to go over the same area two or three times. Yeah. I'm trying to show you how wet my paper is. It's pretty wet. Tilt the paper to check which part needs more water. Okay. Very good. Now I switch to my smallest brush and take some cerulean blue paint. This color is considered the ideal sky blue hue. It's a bright blue paint with green undertones. My brush contains a pretty diluted paint already, and the wet surface makes it even lighter. Watch how the paint spreads. You need that moisture level on your paper. But Very nice. If you need to, you can always add more water to the surface. The plan is that the sky on the left side will be a bit darker than on the right side. So on the right, I'm using even less pigments on my brush. It contains very little paint and plenty of water. Also, as I'm moving towards the ground, I'm using less and less pigments so the sky gets lighter. Let's add some clean water here with the size 12 brush. Now, let's use the size ad brush. It can hold more water than paint. By taking blue paint from the pen, I'm going a bit darker on the left. Let's not forget the gaps between the branches. As long as the surface is coherently wet, you won't get ugly cauliflowers on the paper. For this tree, we will have a light setup where the sun shines from the top right. The sun will be in a very high position that will create spectacular shadow patterns on the flower groups. I guess we are done with the blue sky background. Now we have to wait for it to dry completely. I'm using a hair dryer to speed up the process. The paper should smooth out again. That's the point when we can move on with the painting. On a 300 GSM paper, it takes some time even with the hair dryer. I guess it's okay now. 26. The Base Layer for the Foliage: With the size round brush, we are going to paint a base layer for the foliage. I'm activating my paints on my palette. Our main color will be violet. It's a mixture of blue and red, but it's closer to blue on the color wheel. I'm adding plenty of water to it because we are going to start with a very light shade. This tone seems okay to me. Now, we are going to paint each section patiently. I keep the light direction in mind and leave paper white spots on each flower groups. I try to keep these white shapes very diversified. Each spherical section will have a unique shadow pattern. Watch the movement of my brush. I'm making curves by following the three dimensional surface of these sections. Make sure you keep the top right areas wide. Mm. I switch to my small brush for painting the smaller areas. It's a good practice to use the right size of brush for a certain purpose. So you don't have to solve everything with one single brush. As I'm moving to the left and to the bottom of the tree, I'm leaving less and less white space in each section. These ones will be on the dark side. So they will have a tiny white spot on them. Or no white spot at all. I think it's time to add some warm shade to the foliage. It will add some energy to the final painting. So I'm taking some carming paint, diluting it. And let's mix it with violet. Let's test it. Now, making the surface wet again before I add this warmer shade. More water to the surface and some gentle touches where needed. On the wet surface, this second color will spread and blend nicely. Es If there is too much pigment somewhere, I lift it off. I'm not sure why I missed these two sections, but let's fill them in. 27. Violet Middle Tone: I'm using my eraser to tilt the surface. This way, the darker pigments that I'm about to use will travel downwards rather than upwards. All right. We have a solid base with all kinds of shadow shapes that we can build upon. I'm taking pure violet and painting over the shapes again. But this time, I'm narrowing the area that I'm working on, making sure that some of the tones from the previous layer will remain visible. Watch again the direction of my brush strokes, all kinds of curves on the surfaces of these varical objects. So this is the second layer of paint. We are building up the values on the foliage step by step. Lots of different shapes, but you can paint them relatively quickly if you have an idea what technique to follow. Now watch that I'm adding the very same shade of paint to the tree and still the shapes get darker. Why is that? Because in watercolor, the transparent layers can add up. Actually, we are adding more and more pigments to the surface, so it's logical that it ultimately gets darker. This is a good way to move on with the values from light to dark gradually. Very good. Now is the time to add more paint directly from the pen so we can actually paint with a significantly darker shade of violet. I'm painting smaller and smaller areas as I'm taking the shade darker. More paint from the pen. Oops, there is too much water on the brush. Let's mop it up. I'm touching only the lowest part of each section. Y. If there is too much paint on the paper, we can easily lift the excess paint off. At the top of the tree, I'm using very little dark as the light dominates there. It looks pretty good. And we can make the shadow side even darker on each section. Me dense paint from the pen. Well, that's too much on the top. So with a relatively dry brush, I'm making corrections. 28. Indigo Dark Tone: All right. I guess we can take our third value for the darkest part. This will be indigo, diluted with some water. Indigo is a deep blue pigment, which is very close to black. It will harmonize nicely with violet and carmine. Watch that I continue wearing the shadow shapes. A more diluted shade on the top of course. Not that a darker curve like this belongs not only to a particular section, but it also defines the shape of the section right next to it, where there is paper white area. So make sure the dark curve fits into the shape right next to it. Okay. I'm taking some dense paint from the pen so I can make some darker brush strokes. Something like this. I don't know. How many layers do we have already? Four or five. That's okay. This will be a relatively complex painting. If you need to fix something, do it with a clean and dry brush. With indigo, you have to be extremely careful because it's one of the toughest color to lift off. All right. I think we have reached another checkpoint. We will get back to the foliage later, but now let's move on to the trunk and the branches. Let's use asiana for the purpose. As we have discussed, it's a beautiful brown earth color, close to yellow on the color wheel. Oops. It seems I need to fix some pencil marks over here. Now, I'm filling in the branches with this light brown paint, leaving some paper write randomly. Well, not exactly randomly. A surface that faces the ground should be darker in general. A surface that is inside the tree should be again darker than a surface that faces outside. A surface where branches meet should also be darker. This is not something that you are thinking about when making each of your brush strokes, but it's good to keep in mind when you paint some key locations. Let's add a base layer for the ground, too. And there are some branches inside the tree that we can see. I guess I should erase the pencil marks that I can. So let me check if the foliage has dried completely. I think it has. So let's do that. Note that graphite that is under some paint can be removed. Okay. All right. Let's move on to the inner branches. Remember, we have some gaps between the spherical shapes. It's time to deal with them, too. Good. 29. Green & Brown to the Tree: Now, I'm taking some sap green to paint these gaps. Let's start with a lighter shade. However, these sections will be darker soon. Remember that the violet shapes are a group of flowers on this Jacaranda tree. Now we are painting the leaves inside. I'm going darker with the green. Very good. I missed this little spot over here, so I fix it with violet. Now I'm taking a bit of mars brrown, diluting it a bit and adding a second darker layer to the branches. The left side of the trunk is in shadow. That's why there is more dark brown there. Cast shadow on the ground plane. And with a clean damp brush, I soften the transition between light and dark. I'm also adding some brown to the intersections. Now, mixing a bit of indigo with the brown and paint the rocks at the bottom. Plains that faces to the left will be the darkest. Plains that turn upwards and to the right will be lighter. Now, let's darken the trunk on the left side. Me contrast, we'll make the overall look better. Let's align the shade of the shadow on the ground with the trunk. And we can also take the rocks darker. Good. Let's darken the green areas. Okay. We can even mix some indigo to these sections. Now, I'm adding a darker shade of brown, too. These inner sections are supposed to be pretty dark. H. Et's add more dark to the trunk. With a slightly damp brush, you can always soften transitions if you need to. 30. The Ground & More Details: Now let's add some grass to the ground. I'm painting with a kind of dry brush. The ground looks good to me. Now, let's get back to the foliage. I'm adding more dark brown to the intersections. The flower groups makes the foliage pretty dense, so very few lights gets inside the foliage. Now, let's return to the flowers. I'm adding further dark indigo to the bottom of these varico shapes. Okay. Let's add some met tone to the shapes, including a touch of deep bread. With a slightly dmp brush, I'm blending the colors a bit inside these shapes so transitions get smoother. A where the surface is already dry, I'm reactivating the pigments with my damp brush. I'm going through the flour groups one by one. I'm using the paper towel to clean the brush before I move on to another shape. Let's not forget the big picture. Dark tones are supposed to dominate only on the left and the bottom side of the foliage. I guess the tree looks pretty good by now. 31. Some Final Touches: I'm just doing some final touches. I'm adding a tiny bit of indigo to the trunks dark side. Okay. What else? Some more grass on this side. Maybe we can take the intersections even darker with some brown. In the meantime, I'm checking the overall look. Yep, I can soften this transition over here. And some other places too. No. Some deep indigo curves the last time. Oh. I think I consider this painting completed. I hope you have also satisfied with your piece of art. I can't wait to see that. So don't forget to upload it in the project section right below the video. I'm glad you have painted with me. 32. Final Thoughts: If you got to the end of this class, I'm super proud of you. I hope you enjoyed the lessons and your drawing and painting skills developed a lot. I always like to ask my students, how are you feeling now? Do you feel you succeeded, learned something new, enjoyed what you were doing? Your feedback in the form of a review or rating would be really valuable for me. And if you like my teaching style, I definitely have some more classes for you. Make sure you check them on my profile page. I hope you had a good time with me. See you in another drawing or painting session.