The Art of Doing Less: Minimal Watercolor Landscapes

1. Loose Watercolor Landscapes: When life feels overwhelming, I find so much comfort in the small contained projects that can be done in just one city that allow me to be present and fully focused on process. Wet-on-wet watercolor is perfect medium for that. Hi. My name is Cornelia and I'm a full time mixed media artist from Austria. In this class, we are going to create minimal watercolor landscapes, simple, beautiful, and with no waiting for layers to dry. We'll cover all the materials and techniques you need wet-on-wet, brushwork and composition. But the real focus is on iteration over perfection. We'll create lots of small playful pieces because that's where the joy is and where your intuition and skills grow the fastest. I'm so excited to share this with you, grab a stack of papers, find a quiet moment for yourself, and let's make some paintings. 2. Class Project: Loose Landscapes: For your class project, I would like for you to do five to ten landscape studies. Why a whole series? Because this is really about practicing water flow, pigment ratios, and composition variations and it will not happen if you just do one piece. Practice progress makes perfect. You can upload a picture of your pieces to the project gallery. And please also share which one is your favorite pace and why and what you struggled with the most and what came easy to you. This will normalize the experience for all students. We can learn from each other and I can also support you with feedback and tips. Now before we dive into the penning practice, let's talk a little bit about the materials that you'll need. 3. Simple Watercolor Materials: For years, I've been encouraging people to use inexpensive watercolor paper if that is what they have available. But recently, I have also made the experience using more expensive paper like the gold standard, 100% cotton paper, but it does really make a difference. Still, I'm going to do most of this class on drawing paper. It's a drawing paper that's definitely set to be used for dry and wet media. Still not all drawing papers will work, but you can really start with what you have and if the paper is finding you massively, it might not be your fault, try a better paper. When it comes to brushes, it's really useful to have a larger brush and a smaller brush. The large one we'll use for the background, and it's just very useful to have a larger one just because you can get more water down more quickly if you have this brush in comparison to using a small one that would take quite a lot of time. But it doesn't really matter if you have a flat w or round one, just one that holds water well, that's amazing. When it comes to the smaller brushes, the most important thing is that it has really good tip. This is a number six, but the numbers are not saying too much that could be different with other brands and it's a synthetic brush. This is a number eight and it's called a script brush, I think. It has longer bristles, as you can see, and it can hold a lot of paint. Sometimes I find it useful to use them because they take a little bit of the control out of it. I find it more easily to make smooth lines, not as shaky. The tips are really soft and really adaptable. I'm also going to be using this really inexpensive one for my kids art kit. It's not been used before. It has a fine tip the bristles are a little bit lopsided, it's not high quality, but it still works. It does not really depend so much on the quality of your brush. You can make it work as long as you have a fine tip. We need that fine tip because we want to make those details like the trunk and maybe you want to do some branches and things like that. When it comes to paints, you can either use pens or tubes. I used to use just pens, but now I've acquired a taste for using the tubes because you can immediately squeeze out a good amount of paint that's ready to use. But if you're using pens, maybe it's handy to have a spray bottle and just spray on pens before you start using them. Basically, you just need one color or two colors. Like this one was done, I think in the dusk violet from angogh which is a special granulating color so that might also have added to this effect here. Here, I've also just used one color. I think it was olive green from these white knights paints. But yeah, if you have more colors, you have a little bit more playfulness. So here, I probably use the red, I've used neon pink, and I think I added a little bit of a violet as well. But you really don't need to have all of that. Just start with what you have. The first pieces that I did were not actually done on watercolor paper, but on drawing paper. What I like about this paper is that it has this really fine grain, and that really goes well with this concept of common spaciousness. I've also tried a couple of other papers here. This one is another very smooth paper. It's a mixed media paper. So this one is actually an acrylic painting paper. It's 400 sems so it's really sturdy. And as you can see, it has a stronger grain, almost like a watercolur paper. Why didn't I use watercolor paper? Because I couldn't find my watercolor paper pad, I use this one instead. Like this is even some paper that I had just found at home. I think it was not specially made for art. I think I still have it from my time as a graphic designer as it was a sample for paper that would be used to you know, print maybe your business cards on or things like that worked as well. I think this is on the same paper as well as this. You can't say that with this paper, you don't get a fuzzy bleed. You can also get a fuzzy blade with this one. It really did not depend on the paper. When you're using thinner paper, put something on top of your pieces and press them. You could also wet them on the backside to get them straight again, which I did for these. Now they are not completely straight as you can see, but straight enough when you look at them upfront. You need some kind of palette. This is, you know, just a plate from the kitchen. You need water containers. I've left the dirty paint water from my last session in here. This is what I'm using for the background for this very light color. But it also helps to have a container of fresh water, and this is really a dirty container because I'm using it for my acrylic painting. What's also important to have is either a piece of cloth or some paper towel, to blot of, you know, excess water, to wipe off your brushes, and, you know, just have in case of spills. So to sum this up, don't overthink your tools. Start with what you have. You can always upgrade later. This class is about understanding water and pigment flow and practicing and learning that and not about the perfect supplies. 4. Finding Ideas for Your Art: So before I created these miniature tree landscapes, I had actually been experimenting on a large scale with acrylic ink and just making loose brush strokes and playing with flow in these minimal landscapes. But then at some point, I wanted to know, I think. I'm not quite sure, but I think I wanted to know if I can make watercolor spread as well as acrylic ink. I was doing this really small experiment on a piece of watercolor paper and that's what sparked this class. When I saw this, it reminded me of the singular tree. And then I tried doing these trees. And I did really, you know, did a lot of these small ones in the beginning, like really tiny, tiny compositions, just, you know, playing with how the paint spread. So I liked a lot. So, you know, weren't so successful because, you know, the paint spread too much. So the paint was more contained. It was really a long path and also had a couple of pieces where everything went wrong. I get bladed out completely uncontrollable and the point is, there's always a journey to arrive at a certain point and it's not been the result of the first try. What is also a beautiful reminder is that sometimes idea don't come from planning, but they come from really small experiments, small playful things and from curiosity. That can spark a whole range, a whole series of artworks. We really should not say that we always have to create something amazing and beautiful and complex. Sometimes, it's just about putting down the pain and just playing and that will build momentum. 5. Mindset: Quantity Over Perfection: Tricky thing about watercolor is, for me, at least, when you see someone who has mastered it, it looks so easy. But when you're doing it yourself, it's not so easy at all, I find. But for me, the trick is in iteration over perfection because I find it super frustrating when I sit and I paint for 3 hours, 4 hours because there's all this waiting time in between, and then I overwork it, I mess it up, for some reason, it's not what I expected it to be because I've built up all those expectations in the process. If you instead took the time to sit down for 30 minutes for an hour and create ten small studies, just one after another, you will build so much momentum and there will be one or two that you really like, and that is a huge success because that will give you the confidence, that will build your skills the fastest and that will make you want to come back to this practice again, because it makes you feel good, it makes you feel happy. There's this famous pottery study. That also supports this idea. There was one group that was told to create one perfect pot like ceramics and the other group to make as many as they can. Guess who make the better pots, the ones who made as many as they could because they iterated and they learned with each iteration. Don't aim for one perfect piece, but for ten experiments. 6. Water & Pigment Flow Basics: Watercolor everything depends on how wet your paper is and how much water and pigment you have loaded in your brush to see what the right amount of humidity looks like on your page. So I have a slightly humid area here, like one that's more humid here and very wet here. And now I'm using this pigment and putting down a dot and, you know, seeing what happens. So what you can see when the water is really pooling, you often get this halo effect, at least with this pigment here, it's not as strongly pronounced, but here we get a nice spread. What I have to say, what I've noticed, is that it really also depends on the. So like this gray was a white knights paint. And now I want to try with a Vangah watercolor. So you will see that the spread can be different. You know, not all have the same push towards the outside. Here you can see when it's pulling, sometimes it does not even move at all. Let's try another one of the white knights paint paints. So this one, for example, has a really funny way of, you know, almost granulating. So you really can tell you while to practice how your paints will react, and it can also differ depending on the paper you use. So let's use those pens. And see how they do. And you can see, again, they react differently. Generally speaking, it is better to be more on the almost dry side for the spread than on the wet side here you can see it like how it should not be at all. So one thing you can also do a little bit, but we're mostly not going to be relying on that. We are just touching the sides it's going to spread outward from there. But then you can all tilt it a little bit and see it creates a little bit of a different tree shape when you do that rather than, you know, keeping it straight as it is. So now it did spread really nicely. It also depends on how much pigment you have in your brush. It spreads when I have enough paint in it. I want to create some kind of, like, a pressure by adding and dipping down. And when I have too little, you know, it's not going to spread as far. So I can, you know, by having more of a pigment load, I will push it out more and I can dip and create this push 7. Master Loose Brush Strokes: Before we paint our full landscapes, we need to practice our brush control a little bit, get a little bit of warm up. So for this, you want to make sure that your brush is fully loaded. You're like, soaking it up with paint, and now you have to think about not doing this as a drawing. If it's easier for you to move your arm horizontally award, that is fine. If you rather move it at an angle, then you can, of course, turn your page. And do that. You can put it down and try if that works for you, and then slide it across the page. You know? Just put it down and slide it. And you can vary the pressure a little bit when you do that. It's just, you know, just sliding my arm. Okay. I did actually move a little bit like that. I could move, like, more parallel. If I, you know, if I do it like that, I'm actually moving more like a rotation from my elbow. But if I want to, like, keep my elbow still, I would have to for my taste, I would have to rotate the page and then, you know, slide it like that. But you really have to find out what works best for you. When it comes to brushes, you can really try what works for you. So this is a script brush. This had longer bristles and it can hold a lot of, you know, paint. And yeah, you can try if that works better. Has a very fine tip. It's easier a little bit I find with this one to get fine lines and thick lines at the same time, like pushing it down, getting it up, pushing it down, getting it up. Because these shorter ones, especially this one has a little bit of a stiffer, synthetic bristle, so that's not as easy. To use. Another thing, you don't have to put down your arm completely. You can also do that with a lifted arm, like, completely lifted, like not touching the paper at all. I like to do that when I'm going back and forth. But you can also put down just your small finger, kind of, like, to guide you a little bit. It has a stretching sound now. But it helps me, you know, keep the distance when I'm not so warmed up yet with the brush and, you know. But basically, when I create lines in both directions, I do like it when I have my arm completely off the page, like it's 10 centimeters off the page. That's how I'm holding the brush. Like, there's a lot of space. And then I can't control it so well, and that makes the lines a little bit more natural. One more thing that I want to show, maybe I can show that with this brush. It's from my kids, you know, painting kit. It's a really cheap one. So I just wanted to show you that it works as well. Maybe first, I want to demonstrate if it's not loaded enough, that's what's going to happen. Yet, your line is going to break. That's the brush is too dry. And this one obviously is not a very expensive one, but still you can load it properly and, you know, get more. I went really further this time. No, I got it. So it really doesn't have to be an expensive brush. You can also manage to do that with a cheaper brush. Try it with what you have and don't think you have to buy a script brush or any special watercolor brush, you know, creating more lines, and we can add a little bit of water beneath and let it wash out if we want to do that. And just to be totally, you know, transparent, this is my third page. Today. So this is where I started. And like in the beginning, my lines were super super wobbly. Like, the straightness came from practice. So I would advise you to do at least a page of these. Just, you know, practice that. It's not something that you will be able to do immediately. It really takes practice, and then you will improve. 8. Plan Your Landscape Composition: So let's quickly talk about composition. It is such an overwhelming, intimidating concept for many. But coming from graphic design, we also call it layout, and I find that a lot less intimidating. And what it really is, it's just the arrangement of elements on a page. Just the way how you arrange it. There are no strict rules. There is no absolute right or wrong. There are guidelines, of course. There are collective aesthetics that we enjoy that we like. But basically, what your composition has to do, it has to support your intention, your concept, and your idea. Let's dive in. So in this class, our concept is calm and spaciousness. So if I were to add all these elements on my page, that would not support calm and spaciousness. So we really have to askselves does this arrangement support my concept? Does this support come? And if it doesn't, you leave it away? So composition starts with intention. The next thing that I always like to think about is contrast. Contrast can come in many forms. It's basically about differences. One type of contrast that we will be using a lot in this class is a contrast in proportion. So if you have, like, a page and you are dividing it right in the middle, I would do my horizon line and the trees like right here. That would be totally equal. That doesn't create contrast. So we are going to move our horizon line down so that we have a lot of negative space in contrast to a small area of ground and trees. The second way we can use contrast is through size. So when we have the trees here, and all of them are the same size that can be your intention. Like if you live somewhere like where I live, there are a couple of country roads that have trees that are planted like that because they have all been planted at the same time. But if you want something more natural and also create a little bit of perspective and depth, you can consider varying the sizes and create contrast in size as well. So we have differently sized trees. Another thing that you can see here, like we are having the trees, you know, like that. What is happening here as well? We have the same, you know, let's move this up. We have the same distance between all of the trees. So now I'm not varying the size, but I'm just changing, like, how the trees are placed. That will create already like something that's conveying a different idea concept. And then, of course, as you can see here, we have the different spacing as well, but also the size. So in the end, you want to stack up the contrast. One thing that always comes up when speaking of composition is a focal point. But again, that goes with what you want to show us. So if you want to portray a beautiful large tree, like standing somewhere alone, and you put that right in the middle. All the attention goes to the tree, and if that is what you want to portray, that is totally perfect. But if you rather want to have a spacious landscape, then you're going wrong by doing that because this is about the tree. So if we want to have the landscape, we'll rather not have something red in the middle, but have a focal point here and a focal point here, for example. What you can use and what is a little bit of a guideline is this rule of thirds thing. So it is said that if you place things, you know, at the cross sections or alongside these, that's an interesting plate for things to be placed. So as you can see, this is approximately, you know, here, but I have moved the ground line down actually here, but then I had, you know, the trees about here. And maybe, you know, some shrubbery around here. You don't have to be exact with this, but it's a little bit of a guideline that helps you to not put things right in the middle. Another thing that you can create contrast on is shape. So, for example, if you had the trees and all of them are the same, and I like that a lot, but you could also create contrast in a way that you have like differently shaped trees. For example, here, we have these elongated trees, and for example, here we have a round tree. So that could create contrast as well and variation. You can also create shape variation in the way that when a tree, for example, is sitting on a slope, it might not grow straight up, but more like to the side, and it might have supporting branches. So you can create variation in that as well. Speaking of that, you can think of all the trees, tree shapes that you could do. You could have trees that have, you know, two trunks, trees that are more like that, lopsided and, you know, have supporting branches that are, you know, going off to the sides. So it's really up to you to create a little bit of variation, and we will play with that when we are doing our project. So to sum this up, when we think about composition and contrast, we can play with ratio. We can play with size. We can play with spacing. The placement, shape variations. Okay. And the shape variation also includes the ground. So we can just line as a ground. We can have a slope, something like a zigzag that would remind us of a river or pathway. So that's something to keep in mind as well. I hope that was helpful and giving you a little bit of ideas because when we are, you know, playing with this technique, we can't move elements around. We can't just, you know, paint over the tree and make it differently. It's just one shot with the watercolors and this technique. So like, having a few ideas in mind that you want to try upfront can be really helpful. 9. Paint Your First Landscapes: Before I start painting, I make sure that I have enough paper ready. These are eight pieces of post cup sized paper. It's the drawing paper that I mentioned, and I'm going to use it to show you how to get started. I do have some dried up paints here, so maybe I want to use those. So I'm going to spray them a little bit with my spray bottle to activate them just as I would spray my pens if I were to use them. We're going to create our first piece, and we're putting everything you've learned together. So if you have dirty paint water already from your practice, you can use that. If you haven't, you know, just make this really light wash on your palette, and you'll be fine. So we're just going to spread the paint or the water here on our paper. When you do that first layer, you know, the paper starts to dry really fast. So here, it's already has a dry spot up here. So I want to go over that again because we don't yet want it to dry. It also tends to dry on the bottom, so that would not be good for our purpose. So let's add a little bit more water. Because I'm talking so much then. I don't get the ratios right. If you have some water pooling somewhere, you can also move your paper a little bit and let it flow. So now what you want to do is you want to get some highly pigmented paint on your brush. You want to fully load your brush, really soak up all the paint, and then you want to create your ground line, and you want to keep a little bit of space between the sky and the ground. You don't want to touch because that space is going to be where our trunk is going to be I'm just touching, you know, the white area with my brush and everything starts to spread. So, yeah, I'm actually going to leave it like that. Now, I want to show you a second one where we are actually going to try to have the ground touch the sky and create some kind of a feeling of shrubbery. I'm actually going to create a slope. So again, I need to make sure that the paper is evenly humid. Shiny but not pulling. Now, I'm creating the slope, and I'm, you know, touching some of the water here. So I'm creating some kind of, like, grass or, like, shrubbery shrubbery. Kind of feeling. And then I'm, you know, dabbing. Down and, you know, feeding the flow, feeding the tree, kind of. And then you can also, you know, add a branch if you want to do that if the tree looks a little bit too static. The second project we're going to practice is going to be a single tree. But I just decided to do this in a vertical format. That way, you know, the tree doesn't become so overpowering and the sky is still very important. Pick up lots of paint. Mm. And while I was talking, I think this has already dried a little bit too much down here, so I'm just going over it again, spreading the water. And here, I'm adding, you know, the tree. If we're going to have some kind of larger tree, we can't just add, like, the paint here, but we want to actually do a little bit of dabbing more to the outside so that we can actually create a larger crown for the tree. And we can also, you know, use a little bit of the tilting to change the shape of the tree crown. And I think that's almost as huge as I want to have it. And if you want, you know, you can add a little bit more to the trunk if you think it's not fitting the crown. And what I sometimes like to do is, as long as it's still wet, I like to add a little bit of pigment, but you have to make sure that the water and pigment load in your brush is a little bit more than on the paper, so that it actually starts to push. Otherwise, it will more likely pick up some pigment. And this is almost too dry now to add this kind of paint here. So we'll see how that turns out. But I can't really do anything about it anymore at this point because you know, I can just hope that it will spread a little bit, but probably I will get an edge here. Like, just fuzzing around with it and moving the pigment will just make it worse. So we'll hope for the best and see how it turns out. So with these two, you can see that here I added more pigment while it was still humid and I created more darkness. Here, I didn't do that, I think, and it spreads. So it looks a little bit more It's generally more lighter and has less depth, looks more like there was a foggy day. I mean, it looks really beautiful, but if you want to have, like, more of a darkness, it's important that you add a little bit to the other still humid pieces. 10. Painting Simple Tree Groups: Using a neon pink from white knight and a permanent red light from the Van Gogh and combine that with unacrodon purple. Now I would maybe, you know, try to create a little bit of a differently colored background so that it's, like, blending more with my tree so that I have kind of a monochromatic look just using pinks or reds. And if you have a wider brush than I have, you can do that in one stroke. That would be great as well. But yeah, it works like that. You don't have to have it exactly square. You could also, you know, make it a little bit more organic looking. Okay, again, I'm spreading this because I see pulling paint. When you have pulling paint, you can also, you know, move this a little bit up and down and make sure that it spreads. Oh, no, I should wash my brush. That's not a good idea. Mapping this up a little bit. Maybe we'll just take the other one. It's dirty, as well. So now I have to go back. So this is the thing. You need to be a little bit planned with what you do because when it dries on you, that's not going to make it better. And now my paper also started to warp, which is not good, but we'll see. Okay, so we want to pick up enough paint to create the ground. And then the trees. And as I said, you can, you know, create different like, differently shaped trees. Just want to make sure that you do it while it's still wet. It's already dried here. While it's still wet, you can add a little bit of a different color to the base and let it bleed out. Now, we could add also color, like, on the top and, you know, see how that will react. But, yeah, it's, you know, a little bit uncontrollable and it might work out or it might not. That did, like, spread a little bit too much for me. So now we have to kind of the option of doing it even more and letting those trees, you know, blend together or, you know, just living with the result that we have created. 11. Slopes, Ground & Bushes: Let's do a slopy one. So when you do a slopy one, you also want to apply your water in the slope because otherwise you will, you know, not be able to create that. Okay, let's do a dark one. So I'm just, you know, creating that slope. I can, you know, touch that orbit in some areas. I will create some kind of a grass or brush like thing. And, you know, here we have the tree. Just a single tree. I'm gonna add more of that blue. Not spreading so well. So I think it has already dried too much here and we'll get a pretty strong edge. Now I'm just adding water. But it would probably the way it looks, create some kind of an edge because here it looks really dry already. And here we have a lot of paint that's still going to push. So I will lift a little bit of that up because if that's going to dry, we'll have a strong, you know, a strong edge in the middle of the tree. Hey, now I want to touch this a little bit and kind of create the illusion of, like, shrubbery and, you know, have the trees here and maybe I lopsided on here. And, you know, you could always add a little bit more water here. This has already dried, so it's not going to spread as much, but you could h add a subtle layer of water. And sometimes when you add the water and it's still wet, it will push upwards into the almost dry paint and create some kind of grasses or things like that. So I'm just thinking of, you know, having a little bit of darkness still here. I do like those a lot. But I think maybe a little bit of dark here could be very nice. So that it looks kind of like we trees a little bit more to the back. But with wet-on-wet, it's, you know, a little bit of luck if that's going to work out. 12. Fix Common Watercolor Issues: Let's see what happens when I, for example, have added too much water, and I have, like, this area of pulling paint. And let's see if we add the tree here now, and we are like here, the water level is fine, but here we have the pooling paint. We are going to run into an issue. Now, when I want to add pigment, I need to make sure that my brush is wetter than what's on the page. So I need to create some kind of a pressure that it, you know, starts to move. So now we have the issue of having a lot of water here and it's not spreading in that direction. So what do you want to do in this case, h want to wash out your brush and wipe it off. And then when it's almost dry, you can use that to pick up some of that excess water. Try to remove that as much as possible. And then you could maybe try to add a little bit more pigment here and see if you can fix that. But whenever you have this paint running out of control, it usually is because there is some pooling water somewhere, and the paint is pulled towards or it's just reacting in a way that's uncontrollable, and then it helps to have a thirsty brush and use it to pick up some of that water. So here you can see, like, when I added pigment later, it did not fully bleed out anymore, so I created this darker area, which looks kind of cool. Here, that was done in one sitting, and it's really very blurry and very nice. I like that. This one is well. Here, the water was a little bit pulling. So when it pulls, it will create some kind of edges. Here again, it was already too dry here, so it did not bleed. So when I added more paint, it created sharp edges here as well. That's what I was fearing if I left the water pooling here, then it would pull out like that and create these edges. It was probably a little bit the wet side because we can see this halo effect. Here is, again, an image where, you know, it started to dry on the outside. I was adding pigment, like re adding pigment, and then I got this really sharp edge. Here, as well, here I first flattered extensially, and then I thought it would actually look pretty nice. But you would have to, you know, cover parts of your paper if you want to do that because like, having them all over the place probably a little bit too much. Here you can see how it ran into, like, the edges. That was not quite intentional. Here, also, it was too wet, so it ran off. I blotted it off a little bit, but I couldn't contain it. Here, also, we had some very wet area that, you know, started to spread upwards. This was not exactly too dry, but this green pigment has this funny way of moving. I like these a lot. They were just added in one go and just one pigment, as I think. Here, I had the issue of, like, it was bleeding a little bit too much. It was just one tree in the beginning, and then I was like, creating a few more trunks that looks kind of like a bunch of trees. So, you know, I create lots of these, and I find these very relaxing. And you can do it in all kinds of color schemes. It does I think it does work better if you keep, like, to analogous or even like colors that are next to each other on the color wheel or even the same, like, just monoclod. But it can look nice also when you have two different ones. So wrong right here. You know, I do like that. So that happens when this is still wet. And then I added water, a line of water underneath the wet paint, and then it bleeds upward, and that looks really landscapy. It's this one. I like this one, as well. It has a little bit more of a ground space. So I added this wash later, as you can see, here it was dry already, and some areas were not as dry. So that worked really nicely. 13. Final Thoughts: Less Is More: Congratulations. You have done it. You finished this class. Let's take a moment to summarize what you've learned. We've started with materials and talked about how they can be important. But what mostly defines your result is your practice. Then we practice brush control, we looked at water level influences. The outcome, and we talked about composition and how it can support your theme, your idea through the way you create contrast and space and how you arrange things. We learned how water and pigment interact and how wetness controls the movement of the pigment and how small experiments teach us something that perfectionism never will. Now that you've finished all your pieces, lay them out in front of you and take a look. Reflection is one of the most important parts in the learning process because it helps you build your discernment about what you like and what you don't like. You can ask yourself which pieces feel effortless, which feel overworked, which you like better, and which you don't example, I will remind myself that I like those minimal pieces where there are hardly any brush strokes where everything looks effortless and calm. And I can tell myself that when I'm working on something and I'm thinking about, maybe I can add something, maybe I can fix this because I don't like that. I can tell myself, no, stop, let it be, let it flow, let it do its magic, and don't overwork it. So that is my biggest takeaway. The beauty is in doing less, and I would be really curious what your biggest takeaway is. You can tell me in the comments in the discussions or in your class project. One very important thing is the pieces that you feel are not successful are your permission to play even harder to experiment even more because you have nothing to lose and that is sometimes the best thing that can happen to your creativity. You can paint over them with opaque paints like gouache, you can add details with cold pencil, use crayons, whatever you would like to try. Sometimes the best pieces come from those care free, playful experiments on something that was seemingly failed and unsuccessful. So this is your permission to experiment and play and make new discoveries. If you like the class, it would be amazing if you could leave a review that helps other students gauge if the class is right for them and it's valuable feedback for myself. I really appreciate you taking the time. Thank you. If you want to be notified about new classes and giveaway, then consider following me here on Skillshare if you are not already doing that. Other than that, you can also find me on YouTube and Instagram and I would love to connect with you. If you have any questions, you can post them in the discussions or in your class project, and I can't wait to see what you create. I'll see you in my next class, bye for now. 14. Bonus: Painting on Acrylic Paper: D