The Illusion of Space: Applying Perspective to Water Lily Pond Painting in Watercolor

1. Introduction: When we draw water ladies and leaves with lights only, we create layer shapes. When we add colors, value, form, and texture to lane, we put layer three dimensional forms on a paper. If we add a background with appropriate perspective, the illusion of space and the realism appears. Hello, everyone. My name is in Lin, who is an artist, educator, and a designer. Some of you might have known me from other skill share classes. I'm a top teacher of Skillshare, who has published three classes so far. My watercolor painting have received both regional and international awards. I have a team up with different companies to design art classes, including Actu Studio, with the bundle lab and R philosophy. Also, I have been releasing my painting process, tutorial and sharing my life experience on my YouTube channel at Creative Studio. Another way that you can come with me is to find me on Integrin at In Creative Art and Facebook at In Creative Studio. My classes are not only to teach you how to paint subjects in a realistic style, but also provide you some knowledge as foundation. It doesn't matter if you are self taught or experienced artists. You will be able to learn about theory, art history, and our knowledge that I learn from my art schools, including a bachelor degree in fine art and a master's degree in education. Last class is my fourth class on skill share. After teaching how to create boket effect byground, cast shadows, and different light effects, I realize running perspective in art is also an important element to enhance your realistic artwork. That's why I've designed class for you. In this class, you will be able to run the complete guide on perspective in art, including what is perspective? What is the elements of perspective? Let's run about different types of perspective. Why perspective in art is so important. How do sketch with a one point perspective? What kind of art surprise we need for this class. How to create evocion of space in your painting by creating aerial perspective bro. How much water like you need IGs question so often, I'm going to show you how to measure how much water your brush should hold. How to paint the frogness of clouds, how to paint realistic water lily leaves. How to paint white water leads, including making the correct colors for white flowers and cooperating with shadows and light in fact. Perspective really helps the artists make a life artwork by creating the illusion of realism on a two dimensional surface. At least class, you can not only have the basic knowledge of perspective in art, but also create the deeper depth to your paintings. You already. Let's get started 2. Class Project: In this class, you will be creating a watercolor painting of a water ledipo with appropriate perspective to bring a three dimensional thing on a two dimensional paper. I will guide you each step of my painting and provide you the basic knowledge of perspective, including what is perspective, the elements of perspective, different types of perspective, and why perspective is important in art. R surprise. What kind of R surprise that we need for this project. How to sketch? I have a prepare grid for you. When we do sketch, we will use this que to make a one point perspective sketch. How much water you need when we pan the bground and how to create the frognes of clouds. How to correct the colors for white water lilies. How to paint water lily and leaves in a realistic style. Finally, final touch by adding a cast shadow on both water lily and leaves. Okay. You can find class materials in the projects and resource section, including the final artwork, color chart, the gree that we use for sketch, my sketch, the small cloud project practice, and the reference that we use for this class. After this class, you will be able to have the foundation of perspective in mind and apply it to your paintings. By applying the appropriate perspective to your art, you will bring realism to it. Are you ready? Let's get started 3. Perspective in Art: Here are two simplified illustrations of water ponds. Can you tell the difference between n, which illustration does show the illusion of space to you? The right illustration shows no depth in it due to the same size of each leave. As for the left illustration, Aloe is a drawing on a two dimensional paper. It represents the three dimensional space on this drawing to the size of leaves that gradually decreased in the distance? Why is that? It's all about perspective. What is perspective. Perspective is a way of creating illusion of depth space, and realistic presentation on a two dimensional surface, such as paper and canvas. In other words, perspective in R is the representation of three dimensional objects in space in two dimensional work. Why is perspective important in art especially realistic art. Perspective is very helpful for representation objects and space on a two dimensional medium like a paper. It's such an important element when it comes to realistic art style. Here is the brief history of perspective. I can help you understand how perspective influence our art. In the early 1400s, Filippo Boneski, the Italian architect, demonstrated perspective principles in his building drawings. That has been considered as the first person who invented linear perspective. Leki found out that pero lines appear to converge at a single point in the distance. Objects appear smaller as they recede into the distance. He did an experiment by using mirrors to sketch Florence Bapterry to perspective perfection. In 14 35 Renaissance artist, Leon Batista Elbert published this theory in his book on painting that Brunski's one vanish point system is still being used nowadays. Let me show you some examples so you can understand more how perspective has inference art from time to time. First example. Egyptian painting 4,500 years ago. The Egyptian art was unique because they drew everything with two dimensional perspective. Everything including humans, cats, and pottery, what all painted sideways without depth. Asian artists try to convey complete information on the scene in a single view point. The second example I'm going to show you is called virgin and the child surrounded by Orators the end of 11th century. In this painting, you can easily sparse some misrepresentations of perspective, especially the chair in the middle. It's not until the 1420s, the artists fully adopt the concept of perspective to layer art. The example I'm going to show you is triplet of Madonna and the child with je in 14 83. It's the time where more and more artists started applying perspective in layer. You can obviously notice the perspective of the chair, the tiles on the floor, and even the by ground outside of the building. The last example I'm going to show you is called Paris three running day by Gota Kaibag in 18 77. In this painting, you can clearly see Kaba applied a two point perspective to paint the buildings in the background. Plus, due two is a symmetrical composition. L painting is considered Kaba masterpiece. Having perspective in mind when you compose your paintings, it will help you create realistic art. Now, let me show you the simple illustration, explain perspective in our word and also ran about the elements of perspective. Perspective has five important elements. The first element is the horizon line. The horizon line usually refers to the boundary between the sky and the lane water, which you can refer to the viewer's label. If you make the horizon line higher, the viewers can focus on the image below the horizon line. Just like this painting where I set the horizon line way up there, so viewers can see the birth first. On the other hand, if you place the horizon line lower, the vers seem to pay attention more on subjects above the horizon line. Here's an example of my painting. I intentionally guide the veers to follow the leaves from the air to the grow. The second element is the vanish point. When you walk along this path, you know that both sides are parallel. However, when you look at this picture, all parallel lines appear to converge at the same end. That is called the vanish point. The third element is ground plan. Ground Plane refers to the space below the horizon line. Where we are going to paint water lady pop. The fourth element is orthogonal lines. Orthogonal lines usually refer to the imaginary lines the artists use to accurately create illusion of realistic space in their artwork. Orthologon lines are usually invisible in the final artwork. In this class, I'm going to show you how we are going to use orthologal lines to sketch. The last element is converging lines. Convergent lines refer to lines appearing to me at the vanish points. They are very helpful when it comes to drawing roles and buildings. After learning the basic elements of perspective. Let's learn about different types of perspective. One is linear perspective, and the other is aerial perspective, near perspective represents space by showing the scale of an object diminishes as the distance from the viewer increase. In other words, objects are farther away from the viewer appear smoother, the lows that are nearby. There are three different types of linear perspective based on how many vanish points adopting one artwork, including 1.2 point and three point perspectives. Area perspective usually refers to how artists express colors and the collty of objects due to how light affects in real life. In my second class, the illusion of depth, how to create realistic shadows with watercolor. I have already introduced aerial perspective in my lesson. If you want to learn more about this concept and how I with my painting, you can head to my second skill share class. In this class, I'm going to apply both area perspective and linear perspective, especially one point perspective to create water lily pu painting. I will guide you step by step from how to sketch to how to paint a realistic water lily p After learning the importance of applying perspective to realistic art. Let's get our art surprise ready and see how we can apply perspective to our composition for today's project. 4. Art Supplies: Now, let's talk about our surprise that everything we need for this class. First of all, let's start with pencil. I use two edge pencil to sketch, and also just regular eraser. You can use it for sketch. For the paper, I choose the arches. Last time we choose A by ten for this project is co press 300 GSM, which is 140 pounds 100% cotton. We're going to use this paper for today's project. Then we talk about colors. Here, I have a three brands to choose from. I use R philosophy, I use Daniel me and Weezer and the Newton. You can find this color chart under resource section. If you don't have exact brand with me, it's fine. As long as you have a similar colors, you can apply to this project. Let's see here. For the R philosophy, which is the product I have been using for so many years. I still like they have so many different colors you can choose from. For here, I use 90 stream, which is for the lighter sky. Then I use 1404 for the darker area of sky and water. Then we have one, two, Then we have a 102, which co pond light gray. Then we have a 93, which is gray stone. I think other brands also have the same name. Again, if not the same brand name names might be different, which is totally fine. As long as you have two shades of gray gray for the yellow, the lightest one I use 101, which is. And then we have a Erst name Earth, like a brown greenish color. Then we have just brown, which is Brune Uber from Daniel Smith. For the lighter green, I use of philosophy 1202, which they called Spanish moss. As for different shades of green, I also use the dano smes. This one is really bright, so I don't use it a lot. You'll see how I apply to the leaves. Then I have a sap green. This one I really like I like the colors. Then the darkest one, I use the domes. Just like a darker green. That's all the colors we going to use for this project. After picking up colors that I need, I like to place in the same ceramic palette. Then I will make swatches on the paper with later brains and names next to them. This way I can always stop and come back to my painting later without losing track of color information. By the way, while painting, I realized that I need darker blue and added indigal from our philosophy, which I did not include in the very beginning. Now let's move to other supplies. First of all, just basic. We have a palate, which I like ceramic one, very easy to clean and sturdy and I really like it. Sometimes I have one, two or even three next to me depends on how many colors I'm going to mix, and then the basic rock, maybe just paper towel, so it depends on how you feel like it. Then we have a very important set here, which is mescin flu, residual eraser, which I used to remove mascin flu. Liquid soap, any brand you don't have to use this brain as long as the liquid soap, you can use it for mescin flu. And then I pull these two brushes out because when I apply mascin flu to the paper, I don't use very good brushes. I just feel like just in case. Of course, if you clean wash your brushes after using mascin flu, it should be fine plus using the tip I'm going to show you should be fine. But just in case I just use synthetic very You know, reasonable price brushes just in case. But I choose a small one, so you can always go to the details. Plus today's project is smaller, so we can use a smaller brush to go to the detail, which the size here is zero, another one here cannot even see the size, but I believe it's size two. For this, medium is called synthetic Oscar, which you can have it, you can use it or not. It's just like extra thing for you to stain drying time of your water color. I usually use it for the b ground. For the small details, maybe not. But for the by ground for sure, I will use a field drop in the water. Okay. And finally, just brushes. I have a lot of brushes for this project. I'm going to talk about one by one. Here is the modular. That's the big one I use to apply water to the paper. Every time when I do the big area painting, I always use model to apply water, wh it can really hold a lot of water. It's really helpful. For the b ground, I use quill size six. You will see me use this brush a lot. Maybe the b ground, the middle ground or even a small details. Main subject, I always use it a lot. You will see how I applied it. And for the b ground, I also use the oval shape, which is 1.5 size. You also have a wrong brush, which is size ten. In the smaller area, I use here. Another one. I use wrong brush says 1086, just for the small area. You will see me use those brushes mainly for the bay ground, for the sky, for the water, or even like a bigger area, be leaves in the front ground. You will see me how to use it. Okay. Then when we go to the smaller details, like a smaller leaves or the main water leaves. I use very small wrong size eight. I have a different set One set for the background, another set for main subject. This way, I don't mess up colors. Also, you don't have to wash your brush in the middle of painting. I think it is very good for me to have the mindset. This set for background, and we have different brushes. For the lead. Then when we go to those details, like a smaller pedal, smaller corner, you can see me use a smaller and smaller. I would say those brushes I use main water lead. That would be wrong size eight. This one is a qui size, I believe is two, and this one is wrong size eight. Okay. Wrong size six, wrong size four and wrong size two. If you don't have so many different brushes, that's okay. Just use what you have as long as you have really wrong pointed brushes for the details, that'll be great. Another brushes I'm going to mention here is the flat one. Here I have a two flat brush. This one is I've been using it for so long, cannot really figure out the size, but it's smaller brush, and this one is even smaller less flat size two. When I use the flat size, I either using for lifting color, like a create a highlight, or when I go to the small detail, like a corner of pedal leave, or maybe a small area on the lifting colors, that's two brushes I go to. It's three sets. Min set for bay ground, the middle set, for the details, and the list two flat brushes for lifting color and create a small details. Finally, I forgot to mention. We need a jar. Any kind of jar or buckle you have at home, we can use it for water. I that's all our surprise that we need for this project. Okay. 5. Sketch Part- 1: Now, let's sketch. Here, we will need the co press A by ten paper. Okay. Also, we will need a two edge pencil, which I usually use two edge to sketch and eraser. Any kind of eraser you have, be great. Before we sketch, I'm going to give you a tip. Some of you might feel overwhem when you start to sketch. You don't know where to put your main subject, and you don't want to change your main subject location after all. Here I prepare the guideline. Which I use simply just use a protecting sheet, whatever you can find at home. I can divide the paper into four section, one, two, three, four. Sorry about the refreshing on the paper. We have one, two, three, four. The mandy I will put my horizontal line here. You will divide the paper to be a sky area in the water lead palm area. Once you have a section set up, I usually put my main painting subject between two, two, and three around this area. Maybe a little bit two or four. The main subject is not right on your face when you look at the painting. You still have some space to breathe in. Let me show you some of my outer painting as example. First one, let me show you painting. If I put my guideline on it, Okay. You will see the main leaf is 3-4. You will see this way. I still have a top area as bground like the woods, so we can really push your background to be further. For the viewer see this painting, you will see the space for them to breathe and they can keep going in to the end. That's the first one. Then the second one, let me show you my mushroom painting. Same here, I use the bground to create the perspective in art. Same thing once I put my guideline on it, you will see. My main mushroom is in the number two, three sections, I add one here in the very last one. Same here for people look at this painting, you mainly focus on this group of mushroom. But you have a space for them to go around, they will go all the way in towards the end. That's a good composition. One more. Okay. This pumpkin. Same thing you're putting on. You will see the main pumpkin also in the section two, three, four in this area. That's just a simple tip for you when you do your layout. I think that's the way you can really cooperate perspective in your painting. Not create the main subject, but also cooperate with the environment into your composition. For today's water project, I'm going to show you how to use guideline. To sketch and how to apply perspective in this painting. Let's move to the next lesson. Let's go. Okay. 6. Sketch Part- 2: Okay, we'll put our guideline on and I'm going to draw the horizontal line here for the sky and the back water leading part. So I to mark a line here, we're going to do the horizontal line. For this part, if you feel okay, you can just Another way you can do it. If you really want to do really precise, you can use the looter. You don't have to be exactly the same as long as when you see visually is horizontal line. That's a live create here is going to be the sky and some mountain shut will be here, and here is all about water lead p. Later on, we can also use the sky line to see where we're going to put the main water lead. Okay. So I'm going to put it right here, another one around here. Okay. When you sketch water lily, in the beginning, you can draw a square. If we look at the reference from outside of the water ley, you can create a rectangle shape. And then another water lily, I'm going to put it right here. Since one is not fully broom, so I'm going to do a half broom one to make a two water lily different. L one can be a little bit square shape right here. And then later you can add some water leady leaves. Just remember, don't fill in the whole pound with water leady leaves. You want to see some sky refreshing, so you can get some space, so the viewer can go all the way to the back. You can make a mark yourself, here is the two main water ley. Maybe one leave right here. Maybe one leaf here. Then you can make some space here, make another one here right in the front, or maybe you can do another one here. We can just roughly to mention where the water lily leave going to go. Since the water lily are going to be white. The bground is better have a darker color to make a contrast. I'm going to make a leaf here. So we can see the water going here, here, and then here we can become the bgro Okay. So now we can roughly mark where the main water lilies will be and the sun water lily leave and the sky. So that's our first rough draft. Now we're going to go in the details. Okay. 7. Sketch Part- 3: Before we add more details of our sketch, there's one thing I would like to mention here is about the perspective in this painting. So I use the same guideline, but this time, I add the perspective. Guide line here. So as I say, we have a horizontal line here, we will have a vanishing point right here. This one, I'm going to just make it simple, we're going to put it almost like a middle, so you can see the line here. That's how all your object will go in due to the perspective from where we view this painting. When you sketch all the water lead leaves, make sure you don't draw in like a circle low when you take the bur view leave from the bur view. They are wrong, like a circle shape. But once you move your angle from the bur view to a lower angle like this one. If you keep moving from your view from the horizontal, keep going lower lower. Actually, the shapes of a leaf are changing. It's from round to be oval shape. From here, this skylight is actually helping you to add the details of a leaf and try not to draw the same wrong shape for each one. Also, the front leaf that you see should be bigger. When you move towards the end, the leaf should be smaller and smaller. The shape can be from fat oval to be really narrow the rot and changes the shape due to the perspective. If you take a look at the painting from here, you'll see the front one is bigger and the wider, go all the way to the back. I can push it to be narrow. But the size you can see gradually changing, this one is more obvious you can see the front. You can see almost like a foot shape you can see, and the one is much bigger and go all the way to the back, one is narrow narrow, all the way you can see the size you can compare the front one in the middle one, all the way to the back, they are smoother. Those size is changing. It's all about perspective. I can really help your painting to be more realistic. During the sketch, I might fast forward some part of it. If you feel like you will take more time to sketch, no worry, just pause here and take your time to do your sketch. Let's sketch the main water lady right here first. You can follow me step by step, or you can go to the resource section. I will attach my final sketch overlay. Let's do it. M. I usually start from the center area, so you can know where the main water would be from here, you build each pedal. You don't have to include airy pedal from the reference, but you can just grab the one you like. Here, I'm not going to add all the pedal in this water lily. Mainly, I still cooperate with perspective here. Here's the vanish point. When you add a leaf, they will look most. I like a lease pedal because towards the end is folding. So we can make each pedal a little bit different. That's why I add a one here. Now we just finish sketching the first water led right here. That's the main focus. And right here instead of drawing another blooming water, I actually want to add the one half bloom right over here. Also, when you put the second water ledy, try to avoid n on the same horizontal line. I can make your layout more interesting. This one is right here. We are not going to draw the second water ledy here. We're going to move up a little bit, so it will lend right here. This water led half one third on the water. I'm going to do something like here. And also make sure this water lily is a little bit farther from the first one. The size should be a little bit smaller. Can do right over here. Here is going to be water. If you want, you can add another third one right here, which is a fully close one to make it more interesting if you want. We will see once we finish the second water lily sketch and let's see how the layout looks like. Let's start doing this one. That will be our second water lead. Now it looks good. Let's add some water leady leaf to complete the sketch. Another thing to keep in mind when you paint water led leaf, they have not just a wrong shape, they do have opening on each leaf. You can add details. That'll be great. I try not to use my finger to wipe lose as thing because I don't want my grease from the finger stay on the paper. Okay. Let's continue and keep the perspective in your mind when you do all the sketch. Now we have a basic layout right here. But I feel like we can add a bit more details to make the leave more interesting. That's why I'm thinking for the edge here, we can make some areas going up. When we leave can make more interesting details right here. We a little bit more here? Okay. So that'll be it and we'll also here a little bit folding up. Then we can read some line we don't want. It's more interesting these two leaves and some details on it. But here it seems to open. I will add another leaf right here. So we can break the whole water area here. Okay. I think that's pretty good. But also right here, I feel like this space. We can actually add another one is the water really almost going out the water, so we can just paint the tip part add something over here. Okay. So it's up to you if you want, you can add it I now, you don't have to. We might just add something here for now to see how we feel once we start painting. Adding that will be good. Now just get read unnecessary outline here, you can see the sketch better. Okay. Another way to check your perspective is correct or not is put your sketch vertically, and just look at n from the distance. And this way you can really see if the front leaves are bigger than the one in the back. That's another way you can check your perspective. If you're happy with your sketch, let's move to the next session, how to apply masking fruit on your main subject. 8. Masking Fluid : Now, let's apply mascin flu to our main subject. This area, the two water lilies and the two leaves. So for this part, we will need some surprise. Of course, the mascine flu that's what we need. And we need a small pallet. Any pallet, you have a home, you can use it and a little bit of water to bh to wash your brush right after we use it and also the liquid soap. You can have any liquid soap you have at home. You can we use it. We squeeze some of liquid soap, and then we can pull some masking fruit in as you can see some grow forming here. I can just use the back of my brush. The brush is not really good one, just a really cheap ones, so you don't have to use your fancy. Brush for this part. Everything about mascin flu, if you want to know more about how to use it, when to use it. All the tips I have including name in my first class, which is in lesson six. If you would like to learn more about mascin flu, you can head to my first class. Now let's some of the mescin flu in the middle. After we have to clean up right away. Next time when you open is not clock. Now we have everything here. Usually I start with the smaller brush. I can make sure I cover all the edge of the main subject. First your brush? Then you your brush into liquid soap. Okay. And now you just need to dip into the mexican fruit to your main subject. When Masan flu dry and when you remove it, it will leave some color pencil mark. So you don't have to worry about all the sketch going to be too dark like the pencil mark going to be too dark for the white water. Because after we remove mescin flu. Some of the pencil mark is going to be lift as well. Usually start in the center and go all the way out to cover the corners. Now you can just take your time. Especially if your first time to use masking flu. Just take your time to cover the whole thing, including a pencil outline. Now, we just cover the main subjects here. So before you wash your brushes, let's double check if you cover all the details, small point angle here. I think we miss it. And you can add on it. Since it's white water lady, so I want to keep the white from the paper. So make sure I cover on the corner. After you check planes and make sure the whole area is covered, you have to wash the brush right away. The mesan flu is not going to clock on your brush. Okay. Once you wash it right away, get rid of the extra grow and your brush is ready for next time for us. Now we just need to wait. We had to wait until the masking flu is completed dry before painting the bag. 9. Clouds Practice: Before we start painting, let's do a experiment. The most often question that I got is about, how do you know how much water you should apply to your painting before we wet or water color bouquet effects. That's why right now, I'm going to show you the way you can really how much water you should apply to your paper. Let's do it. Here is another tif for you. In order to extend the drying time, I add a few drops of synthetic scar in my water. I also did an experiment of this medium, and based on the result, it did help me extend the driving time a little bit. As you can see a water on the paper a few times. If from the screen, you can see two different surface. This one is fully covered by water. This one, you can see the texture of the paper. Looks like a totally covered. Now let's apply light brew and darker brew for the sky. Let me move closer. You can see the edge of the water. They branding in naturally like here. That's the way it's perfect for the cloud. When you still, we add the darker blue in certain area. So you can see the dark blue bring in the light blue naturally. Sometimes you can move your paper little b angle or vertical for the color branding naturally done here. Okay. If you feel like here is too harsh. Use cual size six with water only. Make sure when you squeeze of water coming out. Let's write among, you can help to bring those softness of the clothes. Then the paper wet. That is perfect timing. You add some grayish color. A little bit blish like a darker area here. Looking at the sum of thing here. Same here, same brush. You can softer the edge and create the flffinss of the clouds. Now let me move the paper closer. You can see the edge. Fluffinsss out and set a free of clouds also add some darker area shadow. That's a good way to paint clouds. Let's write amount of water. At home, you can test out brush water on your paper and put the color in and see how it goes. Let me show you another way that means not enough water. If you just apply water a little bit here, maybe just a little bit on it. In the base on the surface. I hope you can really see. Right now, you cannot really tell the difference between these two area. Almost look the same. Compare with this section is different from how we apply water on that section. Now let's try it. Let's do the light blue. I think is very obvious and you can see there's not enough water for the colors to blending in. Okay. Another way you can do is a quiz six with a little bit water. But when you do this, make sure you do it in time. You still can save your clothes, but see now you create the water mark right here, right over here. When paper is not wet enough, you either add more water on it, but a risky part is you might create a water mark. Now we add a darker pour on the top. Since there is not enough water, you can see the cloud is chunky here. It's different from the first one we did. That will make a difference. When you have enough water, the frogfss of clouds can be done quickly and naturally really good overlay. But when you don't have enough water, you might struggle with adding more colors, you might the water mark, or you still can save your painting. But it's really by chance if you add enough water. This clos still works. But you just have to do it quick enough to add the water into your paper. I hope this small experiment can give you the idea how much water you had to put in. When you apply water to your paper, just double check the texture of your surface. You can see the two difference between dry and wet, that's the right one. That's a small tip for you before we start painting. 10. Painting Sky: After the small experiment. Now let's paint the sky. First, let's wear the paper. You can apply water on your paper feel layers. Now you can see the top part, the top section is fully covered by water, so you can see the refraction. The bottom part is dry, so no refraction. Here, we are going to use two blues. First one is string, which is a lighter blue for the first layer. Then we're going to use bluf as the second layer for the darker part. By the way, before you do that, you should have all your colors ready, that is really helpful. When you find out the paper is almost dry now wet enough, you can always use another brush with clean water, just a little bit water to smooth out the edge to make sure you still keep the roughness of clouds. Now let's apply the second blue which is a blue thing for the darker area. Now, I use a string light blue to brand blue thing better instead of using water. Now I can use water to smooth out the rough edge. Just make sure they branding well together. Since painting sky is time consuming. Once you start painting, don't overthink, just let the color goes and just follow the flow. Since clouds don't have specific shapes, so don't worry too much. Now let's create a darker parts of clouds by using green stone with blue fin. Then again, let's use a clean brush with water to smooth out the edges. When you find out your brush it carries too much paints, make sure to wash and squeeze out the extra water. You can keep repeating the same steps until you like the final results. Now the sky looks good, but I would like to make a curtain area darker. Also, same as brew are curt area, I would like to add more brew. But when you do this, make show your paper still d enough for you to do that, otherwise, you don't want to lead the water marks or rough edges. Now the sky almost, let me show you another tip how to create the lightest par of clouds by using paper towel. Okay. You just use the tip of paper towel to leave colors so that area will be lighter, so you can keep doing until you satisfy the final results. Make sure when you do this when the paper, so easier for you to do it and to avoid the rough edges. Now we just finish painting sky. Let's move to lesson. 11. Aerial Perspective Background: Now, the sky is down. Let's move to the farther mountain or wood bushes that area. Before we started, I would like to soften the horizontal line. Since harsh like here. I'm going to use the o six with water only, and we just gently apply water to this area. You have enough water but not too much to reactivate the paint we did before. Now use any small flat brush, also no color, just water. You can use a circular way, move your brush in a circular where you can see the hard edge or gun and fall into branding in the water area, which is perfect. A small step. If you don't have this area, you don't have to do this part. Now this area, we apply some water for the further trees with mountain area. Now we're ready to paint. First, let's wear the paper, not too much water. Then, we use color stream blue to C the sky and water because later on we are going to do the reflection. If you can make it land smooth now, you can make the transition naturally. Now I'm going to create the farther mountain with trees. Instead of just out the shape of mountain and fill in green. Instead, I'm going to use each straw to create the mountain shapes, so you can really see the trees coming in one by one. It looks more like lifelike. It takes longer, but the result is better. In the meantime, you can bring some green Sap green to the water since it's going to be the reflection. Now let's use Earth light brown to add some darker area. Since the paper is still dam, so you can see the earth light brown actually breeding into the water area, which is perfect part of the reflection. Don't worry about it now. Finally, let's use due to add the parts can be between trees and the button. If you see any strong contrast, you can always use the sap green to balance like a smooth, towards the end, you have some green left. You can always bring them to the water area as a refresher. Now we just finish the mountains for the right hand side. Now let's work on the silhouette of even farther mountain. Here we are going to use a little blue. You can test out on different paper. As long as it's darker n the sky gray, don't use too much, so it will be too dark. Then we can use a little bit green to to it down to bring the connection with the mountains. For this mountain, I only the very simple shape without any details. I only add a little bit darker blue to add some shadow like a darker area. Now let's move to the left side of mountains. We will use the S green as the first layer create the trees and mountain shape. Then we're going to add Earth, which is light brown at some details. Finally, let's use green to add the darkest parts. Now we just finish painting the father mountains. Let's move to the next lesson. 12. Painting Pond- Section 1: Now, let's paint water lead pan. I'm going to paint section by section. I only apply water to the top section right now. Let's use the P number 90 color string, which is the light blue to apply to the water area. Then I use Sap green to apply to leaves Since water is pretty wet, so you can see two colors branding in together pretty well. Next, I use J digan to create a reflection of trees mountains from the back. Same thing. I use each straw to create the shape of the mountains shape, so you can see the more realistic. Also, always have a quite six with water only to blending in some areas. Since the paper is, so you can see the refresh nature. If you take a look I intentionally to leave the small stream between background woods and water, you can see the whole area leave it like unpainted. That's the nature thing. When you take a look at picture, you will see a stream line overlay. When you create real paintings, adding details is really helpful. Now all colors bring well together. Let's create some ripples. Let's use the freed brush to leave colors. Here I use fed brush size two. If the smaller area, you can use size zero. Again, when we leave colors, we need to get rid of the pins from the brush regularly. You see I have a paper towel in another pan, so I can always wipe out the extra pins. Now the ripple looks good. Let's add some darker refreshing in the water by using co gen. The first section looks less continue for the second section by applying water. Section let's create leaves first by using sap green, and then we add some earth to create layer forms. Since the lease leaves are in the back away in the back, so we don't have to worry about too much details as long as we give them the basic forms. Then we apply string which is light blue around leaves. Since the first section is dry, so you can see some area is rough. That's why I use quill size, six with a little bit of water, not too much, just smooth out the edge. If you do it in time, you will not leave the water mark. Let's add one more leaf right here by using green and Earth. Now it's time to add the darker brew, which is AP number 1404 brew thing for the darker area under or around the lips. Again, some area seems dry already. So going to use the quill six with water to smooth out the edge. Let's use the blue fin to emphasize certain areas, especially the area right around the leaves. Now let's create some ripples by using flat brush number two to leave colors. If you see some area like you still want to add more dark blue, but paper, it's kind of dry, apply slightly water to the surface and add blue to emphasize the darker areas. Since the paper is dam, so it's a perfect time to create some ripples by lifting colors. The pon looks good, but I want to add even darker shadows under the leaves. I'm using blue f plus green stone, which is a darker shade of gray to emphasize a bit more. Now, let's continue painting the next section of pop. First, apply water to this area. Net, let's use a string, which is light blue for the water areas. The best time to add a dark bro, which is broofing is when the paper is still dam. You can use either st which is light blue or water to b two colors together better. Also, let the good time you can create ripples and the water movement. I'm going to create some leaves underwater by using C earth as first layer, then I add some Jigeni to add the darker area to create a form. Since the layer underwater so you don't really need too much details, but you can make the painting more interesting. Now, I found out this area is not well enough for me to continue. Instead of applying more water to it now, I prefer dry thoroughly, and then we can apply water to the whole area again in the next section. The reason I'm doing it is to avoid the water mark which we don't want. 13. Painting Pond- Section 2: Now, the paper is dry. Let's repeat the same steps. First, let's apply water to the area. Then we use Spanish moss as the first layer to create leaves form. Next, let's use the Sep green to add the darker areas. We can use Spanish moss, light green to bring two colors beta together. Add some color earth. Then we use digano to add the darkest areas, which is the edge around water and the leaves. I use que often. I use it with water to either smooth the edge or bring together better. Now, I want to make the edge around leaf darker by using color broofing with Bird er. The leaves look good. Let's create some lighter areas of the leave by lifting colors. I use the flat brush size too. Now let's use the blue fin to add the darker areas around the leaves. Let's use with Bert oper we use earlier for some areas. You can take a look at the whole thing to see which leaf pedal. You feel like a leaf should be darker. La shadow should be more obvious. Is it a good time you take a look and add some darker color for certain areas? I'm going to paint leaf, but I notice some blue breed into the leaf area. That's why I'm going to use a brush to leave some colors out. After applying stream blue to this area. I found out is too much water. You can see the paint just breeding everywhere. I'm going to pass here. Instead, I'm going to paint Spanish moss for the leaf first. Net, let's use green to add some dark areas. You can always use Spanish moss to bring colors together. Then we add Earth. Now, let's repeat the same steps for leave. Sap Green first mix with Spanish moss and at Earth. Now it's time to paint the water area. We just put a little bit water in the y area, and then we use string, which is light blue for the first layer as base. Let's use the Sap green for this corner of leaf. Then we use digan to add the dark area around the leaf. Finally, let's use blue fin to add the shadow on the water and the ripple and make a so water movement. Then we can use string to smooth the colors out. Then we use the color level miss before with JD genial and the blue fin to add the darkest around the leaf ripples and some water movement. Finally, the paper still wet is a perfect timing to leave colder to create the lighter area. Sometimes you feel like the color is not dark enough or you want to add some details. You can do it now. Then I use Earth and Sep green to add some area. Finally, I emphasize certain area with Jen for the darkest area. Same quiet six smooths out the edge. Now, let's repeat the same steps to pain this leaf. Spanish moss first, then Sap green. Finally, use Earth to define the leaf. Now let's use diGen for the darkest area and also define some details, including the reflection of the bro water lily on the leaf. Now let's paint this small water area. First, use string as first layer, then we use the brofin to add some darker area. Finally, let's use di with bof then add some bird and gray stone for the darkest area. Now, let's leave to create the highlight. Finally, let's use the J d j to do the final touch on curton area. Now this sections, let's paint the Nullar section next to it. First, apply water. As you can see for leap, the previous blue debris into this area. That's why I'm going to leave color to get rid of this blue first. Then we use the same steps. Use Spanish moss as first layer add Earth, and then add Sap green to define the leaf. Use Spanish moss to miss colors together. Now let's use string as first layer for water area. Then use blue fin to define the darker areas including shadow ripples and the water movement. For the darker area of leaf, I'm going to use diganal with bird per to define the darker areas. Then you can use Spanish moss to mix them together. Just repeat the same step until you satisfied with the leaf. For the darkest area, let's add the indigal to it. Finally, let's use flat brush zero to either leaf colors to create a highlight or you can make the white outline darker by using the colors next to it. Now this area looks good, let's move to the next session. 14. Painting Pond- Section 3: Now, let's paint the last section of water lead pan. After finished painting, I found out this section wasn't recorded due to the low battery. Actually, the battery was out. I did not realize. So that's why I'm going to demonstrate this section on another paper. First, let's apply water to only the water areas. Then we use color string, which is light blue as the first layer to create the base. Then we use color broofing to add the darker areas. For all the water ripples and movement, you can either use the reference I save in resource section. If the edge is to rough or too sharp, use previous color which is string to smoothing out. When you are ready, let's use indigo for the darkest part, which is the edge around leaves and some ripples, then we can create all the water movement from here. Same thing, if the indigo color is too sharp, let's use previous color, which is blue fin to smooth out. Finally, if anything anywhere is not smooth enough, use quill size six with water, just a little bit water to make the water more smooth. Now let's complete the leaf enough finish in the previous section. First, apply water to it. Second, let's some extra blue on the leaf by using flat brush size two. Then we apply Spanish moss as base. Then we use sap green to add some shadow, especially the area under another leaf and some texture. Then we use previous Spanish moss to bring both colors well. Then use color earth to define a leaf better. Same here, let's use Spanish moss to bring Earth into previous color better. Finally, let's use gene with a little bit integral to emphasize the darkest area under another leaf and some edges center and under leaf. Then we can use quiet six with water and a little bit to smooth the rough edge. Now the leaf looks good. Let's do some final touch by using digan with integral to emphasize certain darkest area in the center and the edge under another leaf. Then it's time to create the high light, which is a lighter area by using flat brush two two leaf colors. You can repeat this step until you satisfy with the lighter areas. Also, we can also create a white outline in certain areas by lifting colors. Now, let's paint the leaf right in the front. First, apply water. Then we use color Spanish moss to create a base. This time, I'm going to add a thorough yellow green to make it brighter, since it's right in the front. Then we add Sap green to define the leaf. Then we add ears. When we use Spanish moss to bring two colors better together, we can also use this time to define more texture of the leaf or define the leaf better. Finally, we use Jen to add the darkest area. Then I feel like we can go back to use the Sap green to emphasize the center area to make it darker. Then we use quiz six with a little bit water to smooth the whole leave. When you paint the leaves, please feel free to add different colors. For example, you feel like you need to use more step green, or right now, I feel I need to add more earth. Just feel free, you don't have to follow exactly about my steps. But here, just give you the basic idea how to paint a leaf. Then let's create some lighter area including the white outline around the leaf by lifting colors. Here, the same I use flare brush size number two. Finally, let's use the color integral to emphasize the darkest area, which is between leaf and the water. It's time to paint the last leaf of session, same step. First, apply water, second, use Spanish moss to create the base. Here we add yellow green to bring the brands to leave. Then we use green to add a darker area. Then use Earth to define the leave more. Then we use the digan with a little bit indigo for the darker area in the center around the edge. Then we can use water to smooth out all the colors well. Like I say when you see colors don't bring well together, you can either use water or use the lighter green which I use Spanish moss to bring them well together. After that, you can use digan, go back to add some darker area. Finally, let's use integral to emphasize the darkest area, which is between water and leave. The last step we're going to do is use Spanish moss to make some white outline darker, so not too purple. You can take a look and go around to see certain area, especially the white outline right next to the darker areas. You can make too white or bright. Now the whole p looks good. We just finish water p. Now we can move to next. 15. Painting Water Lilies in the Background: Now, let's paint water lilies in the background, which is bury. You might notice when I paint the pan, I intentionally leave these three areas white because that's where water lilies will be. However, as you can see, white spots don't look like water lily forms. That's why I'm going to use flat brush to leave colors in order to recreate water lily forms. When you leave colors, you might have to clean your brush pretty often. Once you create one pedal, for the next pedal, you might need to wash or get rid of some colors on your brush. You just repeat the same action. In order, you can see each pedal, or the form is created. After recreating the form of water led let's get colors ready. Here I'm going to use M stay first to define water led petals. Then for the button, the darker part, I'm going to use Earth to add the darker areas. The first layer los good, that's the earth for the darker areas. Since the water lids are in the back, you don't have to worry about too much details, as long as you can define the pedals or the darker areas, then you'll be fine. Let me move my color palette to the left hand side. This way, you can see which color I'm going to use. Now I'm going to use Earth as we mentioned earlier, to create the darker areas. For the bottom of water leaning let's add some sap green to emphasize a little bit. You don't have to use a lot, just a little bit. The last step, we can add some shadow below water lily between water lily and the water. I'm going to use broofing to emphasize the darkest area. For this part, you don't have to wear the paper, but you still can, but just remember if you do use slightly water, just a little bit, don't reactivate the previous pigment. Then you add broofing then you can smooth the edge. If not dark enough, you can always add more broofing. Now, I think we just finish the first water lily in the back. Let's repeat the same steps for another water lily. First, let's create water lily form by lifting colors. For the smaller area, you can switch two flat brush s one or zero, if you have any to create a small petals. Then you can use a stay yellow to define what lily petals. Use Earth yellow brown each color to add darker areas. Sometimes you can add some sap green to to Now, let's use bro fin to add shadows under water. Now we just finish the second water led in the bay ground. If you want to add more for the further areas, you so it's up to you. 16. Painting Unblooming Water Lily: Now let's paint on bloom water lead, that is halfway out of the water. Same here, let's recreate the form of this water led by lifting colors. Then let's use Spanish moss, which is a light green to define water lily petals. Based on the reference, you can see the left side of water lily is darker. So going to use thorough yellow green to create the darker area. Then a little bit earth to touch. Now I use se green for the darkest area on the left side. Finally, I add a little in genuine for the edge. To bring all the colors together in this area, I use either Earth color or Spanish moss. It depends on how your painting looks like, either color is fine. Or you can just use a flat brush size two with clean water to smooth out the edge. If you look of s reference, you will see the reflection of water lead on leave. Let's add details. M. This water lily looks good. Let's add a shadow below this water lily. Also, it's a time you can take a look around the surroundings. The water and the water lily leaps. It's also the good time. Right now we can add the darker shadows right on the edge. We can do this at a time. For part, I use wet on dry technique. I apply colors to the surface by using qui size six brush with a little bit, clean water to smooth out the edge. Don't use too much water, so you will not reactivate the pigment that dry out before. Just gradually smooth out, you will see the edge are still very smooth. Now, let's do the final review and add more dark shadow under water leaves by using wet on dry technique. While doing final review, I found out I forgot this corner this piece of leave da paint earlier. Let's complete corner. First, I use Sap green to add the darker area, then add Earth to touch ttleb and finally use Jen with a B integral to emphasize the darkest g. In the meantime, I also add some integral to create the darkest shadow in the water. Now, let's remove mask to paint the main water dies and leaves in the son. 17. Removing Masking Fluid: Now it's time to remove maskin flu. Before we do that, please double triple check if maskin flu and the previous paints are completely dry. Now I'm going to use a residue eraser to remove maskin flu. You might see some people use different materials, but for my experience, I like residue eraser because it doesn't destroy your paper or damage anything, so I prefer to use it. Might need to remove some grows on the goal because it's going to accumulate a lot on your eraser. You can either rotate your eraser or you just keep cleaning the extra grow off. It's always satisfied for me to see when I can peel the whole piece of grow off. I don't know what you think. I just like the whole piece peeling. Please carefully check some small corner like a tip of water leave or petals. Sometimes some small thing going to stuck there. If you don't clean it up when you paint over, that area going to be hard to put the pins on. Finally, you can use a clean dry brush to swipe all the grooves out. Same reason I don't use my finger. I don't want to leave any grease off my finger on the paper. Now we are ready. Let's move to next lesson. 18. Painting Main Leaves - Part 1: Now, let's pin water leaves. First, let's use Qu size six brush to apply water on the leaf area. Second, let's use Spanish moss to define the leaf. Where is the darker? Where is the lighter. Net, let's use co Earth to add more details like add value of the leaf. You can always use the previous color which is Spanish moss to smooth out the edge. Then let's use the green to add areas. When the paper step in, you can see all colors bring in together very well. But if you found out still some hard edges, you can use the Spanish moss, the previous color to make the edge more smooth. Finally, let's use J, which is darkest green to emphasize darkest areas. Right now, I just use a quiz six brush with water and a little bit Spanish moss to do the final touch, smooth our old edge. Now the whole leaf looks gray. However, some area should be darker. That's why I use the di again to emphasize area. Also certain area like here, I'm going to use Earth to emphasize a little bit. Now let's create the lighter areas by lifting colors. Sometimes you can repeat this step until you reach the effects like you want. When we look at this reference, you will see white water leads reflection on the leaf. So going to create effect by lifting colors. Now I'm going to use flat brush size two to make lose white outline less obvious by using thorough yellow green or just carry the colors nearby to make this area not too white. Some areas, we can add light yellow, which is not to Tony. Finally, the water area under the. We use the and India to do the first layer. Then we use integral to emphasize the darkest areas. I always use qui size six with a little bit water to smooth out. Let's do the same thing for another area right next to it. Now I think the first leafs grey. Let's move to a next lesson for another leaf. 19. Painting Main Leaves- Part 2: Now, let's paint a second man leaf. First, apply water to your paper. Then we're going to use Spanish mass as the first layer to define the value of leaf. Let's use color earth to add some darker areas. Now add sap green to the darker areas. In step of water, I use Spanish moss to bring all colors together. Here, I use Sap green and digan to create a cat shadow on the leave Also, I use the same color to touch some darker areas and create the texture of the leave. Then I use quill size six brush with a bit Spanish moss and yellow green to smooth out the whole thing. Now I use color to the darker areas. Let's use the di genu to emphasize certain areas. As you can see the papers do them the colors brand in well together. Let's add co earth to make it coherent with another leaf. Now I use dig to add the darkest areas of the ca shadow, specially the areas right under water lily. M. I use freed brush size two with color den with a B indigo we use earlier to fix the white outline under water lily, which is not so bright. Then we use yellow green to make some white out as well. Now it's time to create a high light. However, the paper seems dry, so I'm going to apply a little bit water on the area, I'm going to leave colors. Remember, not too much water just a little bit. The leaf looks good now, let's paint the folding part, which is the back of the leaf. For a part, we are going to use two colors. First is Sap green with Earth. Second color is with indigo and the bird. Then we use more integral to add the darkest areas. The lighter area of the back of leaf is actually right on the edge between water and the leaf. I'm going to use the flat brush size two to leaf colors. Let's use the intcal to emphasize the darkest area between water and the leaf. Let's use thorough yellow green to cover some white outlines, so they are not too bright. For the outline underwater, I'm going to use the sap green to really push it back. We just finish leaves. Let's move to lesson. 20. Painting Main Water Lilies - Part 1: The first lady we are going to paint is partially blooming. The first pedal we're going to paint is the back of the pedal. Let's use the Spanish moss as the first layer, which is really light green. Then we use fellow yellow green with Earth as a second color. Then we use the green as a third color to define the darker area. Okay. Finally, let's use di genuine green with a little bit integral to define the darkest edge. Now, let's repeat the same steps for the second pedal on the left. First Spanish moss. Then fellow yellow green with Earth. Now use green. I'm going to add some earth color on this petal, so it can be coherent with other leaves around it. Finally, J gene with indigo. When we down all the colors, let's use lifting technique to create some highlight of this pedal. I'm using flat brush size two. Based on the reference, the darker area is on the right side, so I'm going to apply Spanish moss on the right side to define this pedal. After first layer, let's add a second layer by using color ma stay with thorough yellow green to add some dark area. Now, let's repeat the same steps for the rest of petals. I did not apply too much water for these small areas, but I always have a que size six brush with water, not too much water to brand second and the first color well together. Finally, let's add the darkest part for this water. We are going to use light gray, which is a poner with little bit yellow as the first layer. Painting why water lily is tricky. Because of the colors. If you use too dark, you will make a why water lily look dirty. We prefer from light to start with. If not dark enough, you can always add more layer. You can test it out on another paper. Just make sure the color is not too dark, but just right. Now, let's add the sun burned oper for the darker layer. Now the water lily looks great. One more detail. Let's add some shadow on the surface of water. Now we just the water ley. Let's move to the next lesson and pain the second water lily. 21. Painting Main Water Lilies- Part 2: When we take a look at the reference, as you can see, no airy petal of water lead is the same layer. Some of lane are lighter, some of n are darker due to the lighting direction. For that case, we are going to use the light yellow to do the first layer to define petals are darker. Let's use this yellow. Just really light light yellow, so we can define which ones are darker. We start from the middle. Those petals, they are darker. I'm going to apply light yellow to the serton area. We add some of for this petal as well. As for the middle polygon, we can use the darkest yellow to add the details. For this three in the back is darker. We can add some of them on this one two. D is right here, add some right here, this one is on the back. I'm going to add a little b right here. Same as one behind a cast shadow from the pedal on top of it and one is right here. Add yellow here as well. For the bottom one that one's really dark and this is this area as well. Bottom one fly dark. And this one as well. I only button here. Okay. So as you can see some petal at the dark yellow to remind yourself which area and then for this button one toward the central one, we will add darker shadow later. Now, let's add a second layer to water petals. Here, we are going to use two colors. The first one, let's use light gray, which is AP 102 ponder. Add a little b to AP number hundred, which is Earth. We use this color earlier already. You add some light gray ponder to Earth. And you always can testing out on extra paper to see is too dark or too light. I too dark add some water until you are happy with this color. Another color we're going to use is dark brown, which is Daniel Smith, burnt Uber. You can add a little bit as dark color to emphasize the darkest par. Again, having colors ready is very helpful. When the paper is dam, you can add two colors, so they can bring in naturally together. Anytime if you see the edge is harsh and smooth enough, you can always use quiz six brush with water only. Bit water to smooth out the edge. Now we're going to use two colors to define water lady petal moors based on the reference. Let's do that. The lighting is straight from above. That's why we do see a lot of cast shadow falling on the bottom petals. That's why we add dark color on petals. In order to show the dark is part of the bottom pedal, I'm going to add a dark B, which is brew film number 1404 to this pedal. I also add a dark on the pedal net to it because both of the receive the most of cast shadow on me. For this petal, instead of burn, I use being to add the dark and thing as the one next to it. A. While painting is good to always go back to the reference to see if you make some petals too dark or not. You can always start from lighter later. If not, you still have a chance to make it. But if we make it too dark in the beginning, it's hard for you to make the lighter. For the tip of these pedal, I want to make it really light subtle yellow to to it down. It's not just flat white area. Also, for these two pedals next to it, it's folding. The back of pedal have some green showing, so I'm going to add a green to make it different. That's the reason when I look for reference, I want something small detail, some interesting details. Now we have a finished water lily pedals, et pin statement in the next lesson. 22. Painting Water Lily Stamen+ Final Touch: For this part, we will need two colors. The first one is mast, which is yellow. Second color is Earth with burnt uber as darker color. It's also a good time to use these colors to define the edge of petals. If you see something rough, not clean enough, this is the time you can fix them. Now, let's use Earth with bird uber to create darker areas. After statement, let's review the whole water led to see certain area. We need to emphasize some ca shadows. I mix ponder with indigal a little bit dark green we use before for the darkest areas. For those details, I usually use brush size one. Or you can use flat size two, so you can really go in the small area, especially those corners. Now, everything looks gray. However, I'm going to show you one detail that most people might not pay attention to. If you look at all my petal, I intentionally not pain the edge. I have some space between the edge and my dark areas. The reason I'm doing that is you look at the petal, they do have a thickness around it. Right now is the time you have to go over to see whole edge area. Not all of them are light enough or dark enough to match the shadows of lighter areas. That's the time I use my flare brush. Just use a little light yellow to tiny down some white edges. You can see one side to down, they look more like a realistic pedal. You can also use flare brush side two, to smooth some edge, some rough edges. Everything looks good right now. However, the darkest part of this area is the space between water and the water lady. That's why I'm going in by using indigo to really emphasize this darkest area. Some final touch. After that, I think we just finish the main water ladies. 23. Final Thought: After linear perspective was discovered and defined by Bnleki I allowed R to have a depth and to be seen more realistic. Nowadays, we seem naturally to see the way of our surroundings with perspective, including creating art, especially for Landscay paintings and architecture. I'm so grateful that you are taking this class with me. My goal here on skill share is to not only teach you project by project, but also provide you the foundation of R to go a longer way. That's why my class is different from others. You can always learn about not only my techniques and tips, but also some R knowledge. You can find class materials in the projects and resource section, including the final artwork, color chart, the green that we use for sketch, my sketch, the small Cloud project practice, and the reference that we use for this class. I hope you enjoy this class. You can always communicate with me on skill share, including me a common, a review, starting a conversation, discussion, or asking me any questions. I will try to get back to you as soon as I see it. Also, you can connect with me on YouTube, at In Creative Studio, Integra at In Creative Art and Facebook at In Creative Studio. By the way, I always enjoy seeing your paintings. Please share your artwork with us. We can always run from each other. Again, thank you so much for taking this class until next class, have P painting.