WATERCOLOR LANDSCAPES: LIGHTS ON THE RIVER

1. Intro : Hi everyone, My name is and I'm an eternal water color is if you follow me on Instagram or Facebook, you know, but I love painting water. I love to pay in Dreamweaver waves, the sea crashing waves. Or what's your reflection sparking water. This is why I decided to share a little bit of my experience with you and I define it to feel in this class. So this is the final product that we are going to bind together. It's something like BZ, but with a lot of tips and techniques and I'm sure you will greatly benefit from these lessons because you will get a lot of information that you can use for your further paintings. And we will learn not only how to paint reflections, and in particular how to paint sparking water, but we're going to paint also lot of different shades of green. Green can be a little bit difficult to manage when you're painting, but after this tutorial, I'm sure you will be able to pay them to mix all the possible shades are being ever. And you will learn also how to paint rocks, how to Playing tomato sauce trees. Because in this project we haven't got the sky as you usually have in a normal landscapes. So it's a little bit unconventional, but it's packed with a lot of information. And I hope you will enjoy painting, definitely me. So if you're ready to go, grab your brushes, so he wrote color, so you play brush. And let's dive into this. 2. The drawing: So let's start as usual with the drilling and let's say that I as usual, I am sparing one-third of my paper to the, further the upper body than two-thirds for the lower bond. So our focus is going to be the light on or even. Now I'm measuring my paper, which is as usual, 100% cotton paper. This is a block wash paper then the E Cheese, 27 cm long, so more or less I will stay around, but let's say ten centimeter and a half foot, that will be my upper third. And I'm now, I'm drawing the horizon line more or less. And then the drawing is really, really simple. We have a pot of light in the very center. Now we are drawing on some distant hills or the river banks with some distant trees. And we're going to sketch everything really, really quickly and in a very simple way just because we want to trace everything but not everything. And just to give more or less an idea of the very far back ground in any way we will going to mask it also this way because we want to that to the light. An amusing also a very dark pencil, even my busyness tube B pencil. But then you have to rub that away. Because it's the marks are to evidence, but feel free to use something lighter to your drawing. And now I think that more or less around here, this splice, we have some, some rocks that we chart. A main point of interests because there will be a lot of life in this area. So I'm tracing these rocks. Follow me there. You have just to position them more in us correctly and then don't be stressed by the drawing in itself. And we need to give an indication of the right position, but don't add too many details. Gesture right now because the drawing in a watercolor, how should we relate light? Okay, I'm sorry, I don't like this rock. And B, so one to leave some more spaces, so I want the water to me. My main focus, I will add some rocks. Also. Hear another group of rocks. And now I'm savage introduced by first Bush. And then from here I will make, i will start to draw some trees. They are starting from here as you see. I'm just getting them really, really quickly with fluff very freely. Some tree trunks and some bushes. But in a very simple and schematic way, I'm not adding too many details and they will be duster. Will we painted, but not with a lot of details because the main focus will be the area of light in the sky and in the water. Anyway, if the mean drawing trees is something that frightens you feel sweet to make it a little bit of SOC practices. So we are going to buy into a little bit off trees here, but this area, we will have the light coming and shining through the forest. And so are we are adding trees just to give a sense of depth. And because we want to create a sort of error perspective in the center, we will have the light of the sun with the race filtering through the masses of trees and leaves. And this will give us a very, a lot of rightness just in the center. In this area, we will create a gradient pinned if you want, you can. I also have a look at the lesson that you can find here on skill share about watercolor sunset because there is a specific section on technique to follow to create the effect that we will have also in this painting anyway. Now, let's go on with our rocks. I position my main rocks in the very foreground. These rocks are bigger because they are closer to the observer. And they are probably one of the most important focal point after the light. Both through the forest, through the trees in the foreground and the water. The reflection of water, the light that you will see in water. Okay, Now let me say more or less here we have the other groups. The other group of rocks. And okay, we will study you before you can modify the shape of the rocks. You don't have to follow exactly what I'm doing because rocks or something very, very common in nature, but thing is no one, Well, that is a alike the other. So don't worry if your drawing is not close to mine. It's just an indication, then you can draw and paint your own walks. Okay, So now let me see. Are we okay? Now i'm I'm just thinking about the shadows. Would be the shadows has the lightest scouting from the very front, there will be this area and shadow. But we will paint the shadows when we are at the very end. And now I have to add, No, I don't like this rough place here. I'm going to draw that again. And I want to preserve a little bit more space for water. And I just want to add a lot of these rock. Let's draw that up with data with more interests, little bit more angles. And maybe it will have a lot of Fisher and crevices to the end. Okay? But I want also to leave some light. So okay, we have these two main groups of rocks. We will have lights in the background of this river through the rocks here. And we will have also light in the sky. We have live here and also at the very beginning, okay, now we're going to apply the masking fluid. 3. Masking fluid: So now we're going to apply our masking fluid. And as usual, I will be using a very cheap old, whether Russia is something that she sacrificed because it will end all ruined. As you see, mine is really, really cheap and the point is a little bit ruined. I'll show you using the masking fluid for many times. I'm robbing the bristles on a bar of soap. In this way, I will protect my bristles and it will make them my brush enough longer. And once he chose so really it is full so I can use by masking fluid. I'm using a gray masking fluid because I can identify that more easily on paper, but if you want, you can use also a white one. We are going to cover all of our rocks in this area because we want them to be almost white. We will just paint the shadows of these rocks because they are almost completely even in light. And now I'm taking advantage of the surface of the paper which has a little bit of tooth. And I'm dragging my brush on the paper because I want to leave some white also in water and then also I'm going to apply in my masking fluid on the rocks in the second row. And I want to cover them because when we are going to paint water, we want to feel free to move our brush and apply the brush stroke. So well I will in a freeway so that we're sure that we're not going to disturb any rocks. I will mask also here because I think that there I'd like to leave a little bit of white and I'm applying also the masking fluid to the contour of the rocks. Maybe once we have finished with painting the water, we will need to draw once again, the contour of the rocks. But because when you remove the masking fluid, you probably have a whale so little bit of your drawing underneath, but that's not a problem. We are going to protect all of the rocks because we really want to protect the areas. In particular the upper part, because the upper part is the one that catches the light. And I really want to them to be covered. And we will be very careful later on when we are going to paint these rocks because the light is coming from the center. And the, so it's enlight the upper part of the, of the rocks and snow coming, the light is not coming from left or from writers. It is usually as it usually is. So even when painting, we will be careful we, because we don't want to disturb what? We will paint a one rock. So we'll let it dry and then move to the other and so on. And we are almost at the end. We are painting This rock. Sorry, we're covering. I will add in a little bit of masking fluid also here because in this part, we will have a little bit of light hitting this area of the rocks. And Sarah want to reserve years of wide. Now, we're going to apply a little bit of masking fluid here because we have very wide area of light. And as always studying you before I'm dragging my brush on the surface and catching the tooth of the paper. And it will give really the idea. Sparkling sparkle for water. That is why we cannot use hot pressed paper because it is too smooth and it won't help us with this kind of effect that we're going to create. Another thing that we're going to do is to apply a little bit of masking fluid off to the far distant water. And now we are going to create an area of masking fluid. Also here in the center. We are not using that much of a masking fluid. You really need just a few concentration of masking fluid on your brush. We just want to leave some areas white, some areas with they call it. And it's like I'm uncovering were left the contour of this area. You will see that it will be almost white in this part because it is really full of light. And then when we remove the masking fluid, we will add a little bit of brush strokes to with the singular of water to increase their Jackson to the movement of water. But it will be almost, almost wide. We are really covering and protecting the boundaries of this area. Okay, So now I'm using a Dr. as you see, it has a very fine point in the EU. I can use this one, but if you haven't gone to a Dr. you can use all to the back of a brush. The most important thing is that the brush that you are using has a very small dimension, okay? You can use the back of the brush and you dip it to the masking fluid and you used to print dots on your paper in this way that I'm using. So I am. You can use ofs e.g. on old pen or you can also spray a little bit of masking, e.g. with an old toothbrush. I'm adding very, very few dots here and there because saying this way they will give me the idea of a small area. So for sparkling lights. And it is a method that you can use. You can use the knee, but you can use any kind of tool that she's feel that it's practical and it's helpful for you. This is something that I really liked because once it has fully dried, you remove the masking fluid easily. You don't need to protect the resource or or anything else. Okay. I think that we are done with the masking fluid and I think that we can stop here and let it dry. And let's move on to the next section. 4. Mixing the colours: So now we're going to prepare the colors for our painting. Okay, So now today I'm using my tubes, but you can use also half bonds. The race-neutral me see what's down to personal preference. In this case. This would have color. We have very different shades of green, but we will stop with something like with a really bright yellow. In this case, it's a lemon yellow. Which is very good because it contrasts very well with the greens that we are going to make sense. And also because lemon yellow is very easy, it's not transparent, it's an opec. Corals build big color. So if we want to add some leaves, e.g. and that catches the light in some way. Some leaves that kitchen delight in some area. The fact that the lemon yellow is an opaque color is very useful and we cannot also a little bit of white gouache to the lemon yellow. And we will get a very opaque color that we will use on the darkest parts, the artist, the darkest areas so that we can enlighten the air. And so we lost the light, e.g. or if we think that we need to add a little bit of light in some part of our painting. So lemon yellow is something that you really want to have in your palette. Then I'm using another which is orienting. Eat. So very similar in tone to our lemon yellow, but it's a transparent and it's really nice colored because he doesn't take away the light on our paper, especially mixed with the all the other green ingredients and I use that to make soul. So my agrees. If we haven't got a lot of greens in our pilot, we can make some orderly and we'd cobalt blue USA. And as you see, or you can use also Cadbury yellow or another yellow that you have in your palette. If we want, we got out a medium. Green in this case, it's very, very bright. And he's, so you see, it's a sort of middle tone. We're being doing a gradient of greens. And that's really the most important thing because we want to progress from the road the brightest, the lightest, to the darkest one. And as we haven't got a clean or horizon, the horizon line is almost totally covered by the green area. We want to create this sense of depth using the gradient tool screens. And we want to create also another kind of green wishes, darker. And I'm using, in this case style of green. Green and I'm adding a little bit of ultramarine blue. Um, I cannot add a little bit of burnt sienna light in this case. Or I cannot also read all of care e.g. or other reddish color e.g. if you use moss, Bordeaux, Burgundy corner and anyway, and dragon's blood, all the corners, e.g. that they are containing PER one-to-one. And we get this green, which is a darkest green now on a more muted colors, which is very close to the color that we have in nature. So we don't want very sparkling bright gradients in this a corner because we are painting a foreign state and we could use all feel Van **** brown or ultramarine blue, or even burnt amber if you want to create a very dark gray. Now I'm using sap green. If you haven't got some green, you can mix that with an orderly Nora, cadmium, yellow or green or blue, and a bit of raw sienna. As I'm doing jumps right now. I'm adding my raw sienna. I'll also to my stock green, but the result will be the same. And in this case you will get up a very green, yellowish green, which is very colored too, which is very close to the color as you see in the fencing in spring and anyway, but we can also take it a little bit of fallow green and burnt sienna. And we have more brilliant green. If we compare that to the one that we mixed, telling me to go with the sap green. But we can also take our sap green and then I will mix that here. And we will add a bit of red ocher, burnt sienna hand. Okay, I love song, warm, sap green. And we have in this case, a green which is very close to nature as well, but it's more of a reddish green. Any Sakalava HE, e.g. can observe in the grasses. And it's really useful to create a little bit of contrast. As you can see what we can get all of this green mixing yellow with blue and ultramarine blue. And then you can not only know a bit of raw sienna, burnt sienna, red off period, and increasing or diminishing the proportion of these main color, you can get all the different greens that I am mixing today. And greens are some, sometimes are difficult to, to, to manipulate because they have they are difficult to create. You can use also find a green and you can get another beautiful green adding a little bit of violet, e.g. in this case I'm adding mirror lying it a little cobalt violet. And we get a very nice bright green color. And something also darker and cooler, different from the one that we got before applauding, right? All Programs sienna and ultramarine, blue to green. And d equals to this one is really, really useful for the conscious there, for the air as the shadow. And then we have also green in water. So we have 0 or we start always from fallow green. And we're going to create a very dark green adding copying orange, which is a P or 20. And in this case is see if you have any other oranges to your palettes and they couldn't be fine. I'm adding here and it'll be enough. Faint blue as well. And we get this dark green, which is even the ETC. Now it's a different shade of green, which is different from the one that we prepared before. So let me create a really mixed all the possible combination, all the possible shades of green. Now, we can get something even darker, finer green. And here is a little bit of Van **** brown, sorry, Berlin by a letter R. This is not bounded brown. And you can use also find agreeing with a period and a rule. More tumor, Van **** brown or any other kind of dark purple color. And the last one is the one that I sent before with funding round, which wasn't this side of my palette and failing grade. And so you see we have a different shade of green as well. So we have all the dark greens on one side of our planet and all the right ingredients on the audit. You cannot also ultramarine blue, indigo to get a darker color. Really depends on the corner that you're using. I mean, if you have a half pans or tubes that we loved, maybe slightly different. And oh, another thing is that a really is a staining color. So please watch very well, you're at in your brushes. So the ICU, you will get everything green even on your, on your brush. And then now we are starting to paint. Then we will paint to that for the bright area. And let's move on and paid to the first bar. 5. Background: Okay, so now we are going to bind the background. We have the area of light in the center in this born less than these positions. So we will move from the upper part and then we will tackle the lower part or paintings and bear in mind that we have to leave an area of light and the sender and I will show you how to do that. But if you need more hi information on this concept, please follow the lesson that we have of Skillshare about Sal sets mucus and the technique is explaining a thorough way. So let's start to wet all the area. I'm using. A brush tool which is an enemy tension of squeezed down and eat retains a lot of water on using as you see, that my four fingers on one side, it's almost I mean, it's not exactly vertical and I'm leaving a dry area exactly in the center of the painting. I don't want any kind of color or water to go there. I'm trying to leave dry. These areas you can see finding climbing the board. You see that you have the dry area and the wet area. Please don't wait to match your paintings because we don't want to create any puddles and we want to have a very clean, uniformly wet painting. We must have something wet to the num more or less in the same way on all the edges. Now, I'm using a smaller brush, round brush. And we can imagine that we have a little bit of sky in the suburban. I'm mixing a little bit off cool Bu, but just a teeny tiny amount. In this case, even if I have greens later on, to create a different shade of green as well. It's a nice introduction, even if we are in the middle of the forest, maybe we can have a chance of seeing any little bit of sky. And what I was saying that I'm using a smaller brush and it's always going to be additional squirrel or any way something that retains a lot of water. And it will give a really nice contrast with the green if those small part of that we can see. So I will start with the lighter value, which is our yellow pen. I will try to put that around the area that I left in July, it before, and I want it to be very bright and clean and using you see my brush none, all the stories onto away and I'm spreading the color. And you see, even if it makes us with the green and the blue, sorry, it will turn into green, but that's not a problem. Okay? I will put in a little bit of the 0, not only with lemon yellow and this moment there is no right or wrong. We are dust stuff. Creating the background with not really splashes of color, soften where you think you need that. And I will work for our use even on smaller brush now. And I will start to soften and to put in some small dots just to create the shapes of the leaves that are heated by the sun. And I'm using now a very, very light green, sorry, the lightened screen and that I had before and I don't want to cover the area and then I left white lie. But I'm creating a sort of IDL leaves. They will be hit by the sun. Now I'm wetting again the lower part because it was almost dry. Lodging always my mixture of lemon yellow or orange or yellow or yellow that you have in your body. It doesn't matter if you haven't exactly the same color that I'm using. The most important thing is that you meet something that gave the has the same grade and so bright greens, brighter pianos, median, we send dark me. Why they choose. Drying, be careful that we haven't got any harsh lines. But I think that we are we have a lot of we have a good time and we have enough time to pay to wishing wet. And we are creating the gradient and we are putting in the different corners that we can see in this forest. And we also need to be aware of the fact that we cannot cover with the darker colors, the lighter wash that we put in before. So even when you're spreading this mixture, be careful and try not to cover. We did the column, we've agreed that you're using all the breeds that you painted before, but you have to create a sense of movement and of variety. You have to alternate dark areas to lighter areas and try to create a sense of depth. We have darker areas and light areas, and we need to build this foliage in. I mean, it in a very easy and free way is to see that I'm doing, but at the same time we cannot we can't pay without having in mind, bearing in mind the final result in, you see it. I'm using more or less all of the greens that I mixed it before. But I'm still leaving a little bit of white areas, e.g. here in this cluster, the rocks because we have the tree trunks in front of them. So I'm creating a good contrast and I'm using now and it'll be enough mineral violet, cobalt violet is cobalt violet with ultramarine or cool blue to get this nice booklet color. And I'm softening the color as well as the sea. Yellow and violet and green is an amazing combination of columns. Okay, I'm implying my water, I'm using my masking tape so that I'm sure that my violet mixture want flow up until the area of sun. Now I'm putting in also the dark green as well because I want to contrast with the white with the light that will be heating the rocks. And so even when you are painting, tried to do planning advanced the area of lights and darks. Sudan, you get a very nice result would be n very harmonic voice results. Or if you have lighter as a new water to me even brighter, use something dark in the background so that they really Papa stand out. We can also use some pure color, e.g. a. Shaft to Sammy adding lemon yellow in this case because the pure color in coming out from the tubes is very dense. One spread all over it. It will stay more or less. The end. You see, it will give a nice contrast even in this case. So here we have a very fuzzy feather edge, which is really nice because it recreates the sphere of the bushes. So in this case, it's an unwanted cauliflower, but it's really useful. They are using, we can use them in favor or they're not working against us. See the color as we're working wet on wet is becoming lighter and lighter. That is why we need to add a little bit of dark color. So when the watercolor dries, you see that the color fades, fades out, it becomes slider. And as long as each is wet, we can add a bit of start, a little bit of contrast without losing our yellow here yeah, that we painted before. We, now I'm waiting this plot because here we have another bush. Repeating the same process. I'm adding first my lower, my lighter value, which is yellow. And then that'll be enough for medium. This is a major element in green and it will be darker. So I, I sort of gradient also here. And now I'm going to use a pure color, e.g. a, burnt sienna or red or per wishes another good color to use. Hello. Contrast with greens because it's reddish and you know that green and red are complimentary colors, so they are really working very well on your palette. And you can use something more brownish, reddish. You cannot break down barriers I'm using as I'm doing here. We will spend a little bit of this color. We will let it mix that all papers. Are we getting a very nice color that are otherwise we wouldn't have obtain if mixing on our pilots, feel free to let the color mix on your paper because, um, you will get very nice color combination and color shades. You know what a color is magic. Because magic works on the paper when the corners make me meets the water and a little bit of blue in it. I'm really adding contrast and you cannot also granulating color if you like, e.g. my purple, blue, and ultramarine that I use in the mix is pretty lighting on light IPL, which is something that I really like when I'm painting Woodson forest because the granulation effect obsolete little bit of texture to the, to the forest Sama Jing once again, ultramarine blue and green. And now I'm adding my fellow green with ultramarine. I'm sorry, we have a couple of violet that I mix before. And I'm using all the degrees that I'm mixed. It's more or less than random. It seems to be a random positioning, but I tried to explain before it's something that we do to create the gradient. Now I'm lifting bit of color because I want to create the impression of the ray of light entering through the leaves. And it's something that you have to do with a very clean brush. Wash that and down. Not thoroughly wet. Really. Drawing better bit with my knocking in my left hand. If you're not if you don't like these kind of effect and do that, uh, your anatomy, you can leave that as you saw before. So it's something that she can decide to do or not. We will pay it anyway, leaves in front of this area. So why use a soft brush and be aware of the fact that if you do this when the paper has started to, why you won't have this soft effect is so tiny, it's really crucial in this case. And so you should see that the paper is still wet. You can do that, otherwise, you need to and you cannot do this. You do that. Now I'm softening this area. And we have done everything we can do in this upper part and now we can move on to water. 6. Water first wash: Okay, so now we're going to find water and first things first we need to make so our callers. So we are going to create a different shade of green for water, because water has a different green from the rest of the vegetation. And I'm going to use my final green. We're going to use a lot of green in this, in this project, fellow green. And we are, We are using also cadmium orange. I'm using a phenol ring which is P G7 or PGA, according to the brands and my cabin oranges appeal 20, but you can use also e.g. chromium orange, which is P0 63 or I think, I think it's six, it should be. Or you can use also green and orange. Anyway, you can use also e.g. your green with yet another orange or that you have in your palette. The most important thing is that you have something of the same tonal value of the mixture that I have. Here. It doesn't matter if it doesn't really match exactly 100% the color you're saying. Okay, So my block is on an incline. I have my masking tape underneath it. And now I will choose my soft brush. And a rejection of square root out is synthetic. I'm wetting with clean water and I will try not to disturb the areas that I've already painted. So it doesn't matter really for the horizon line. But you see I'm staying away from the bush that there is on the left. There is a very fine dry line of paper that I'm not going to wait because I don't want the color of the water to go over my gosh. So now you see that these two washes really watery. It's very diluted, very very light, very Bay. And as it is way too wet, it's probably going to dry even lighter than what it is. So as I think that each is a little bit too light, I'm adding a little bit of sino blue. Let's mix it up. Dark is the final green, blue and orange, cadmium orange. And now let's put in subtle case. So here we go. This is the right color that I wanted it. We are putting in a little bit of our darker green and now I'm working wet on dry and managing the very pale wash that you see that I'm just putting on the paper just right now because it is why is that very paid? Because we have been doing the depth of water in different stages. So we are starting as we usually do with watercolor. We're starting very, very light. And we will add color and tone as long as we move on. So now you see I had a little bit of orange in my palette and now I have a little bit of orange. Austin, what are we choose? Not a problem because in this area there are some rocks underneath the water is shallow so I can see those rocks. And in fact, I will be adding a little bit of red ocher or burnt sienna in a minute. Because I want to create the ADF these rocks under the water. You see B also changing the brushes from the very soft one to a synthetic one which is a little bit more, less elastic. And anyways see corners I'm mixing on the paper and now I'm adding my dark green, which creates a very good contrast with the rock, with the red ocher or burnt sienna that we painted in that and they are creating, it will show yes, so think they are complimentary color and they are doing, they are adding a little bit of interest to our painting, which is really, really green. We have green in all its possible shades. And I think we are about done with this. And I think we have very, very few things to do. No, we are just putting a little bit of dark color here as it is still wet. So I think yes, I'm fine if I'm working on that again. And if it's already dry, don't do this on your paper because otherwise you will be doing that. Okay, Now we can stop, let it dry and we will go back in with a second wash later on. 7. Trees: Okay, so now we're going to play the trees and we're going to concentrate on the upper part of our water color. And I'm moving from left to right because this way I won't smudge my painting. Move from right to left if you're left-handed so that you're not going to ruin everything you've painted before. So as I was, the trees are all darker than the things that we have in the background. So we're going to use different colors for the tree trunks. And I'm going to prepare a mix of a very dark brown. I'm using ultramarine blue in this case, in my burnt sienna, so I get a very dark brown. You can use also Van **** brown if you want to, or burnt umber. And in this case you will get different shades of brown. I want to also different colors, e.g. okay, let's take something towards the violet. I'm taking a volume that could be a cobalt violet or a mirror of violet. Ultramarine violet depends. And I'm using also cobalt blue and a little bit off. Red, crimson or rows mater or purple, magenta or calming whatever you want, okay? Yeah, because I want to use this coloring in the background in to give it a little bit of a DAG off the very distant trees. And to add that to my, to my painting. Because that's something that's really ******* be confused with the trees as well. I need also to my medium value for browser. I'm mixing cold blue with burnt sienna and I'm getting these larger shapes. And you can use also cobalt, blue, and red ocher, e.g. we are good to keep the idea of these trees in the world, but they won't be too detailed. And I want also to bind a lot of trees, but just a few to give the idea. So let's start from the very far left. And I'm painting my tree trunks. We got a lot of brushes. I have a very good brush will be the booty. Good point is very useful and you can, you can trace the brushes is sorry, the branches of the trees with a very defined stroke. So don't hesitate. Feel free to try to get confident with this move. And at one year you are painting the base that you have to soften it a little bit because we want them to be planted into our bushes and not detached from the ground. So as I was doing before, you can just wet to the base of the tree. We're a little bit of water and then dab it with a tissue. Whereas the tablecloth or whatever you have. And now we're adding another treaty with another color and lighter one. And there is no really precise rule. The most important thing is that for the sake of variety, you change the tone of your browser that you're using. And remember also when you're painting trees, the tree trunks are bigger at the base and they get smaller and narrower if you move upwards towards the sky. Now the thing, Okay, now I'm using my blue shade, you see, and just to add a very few trees in the very distance. Now I'm printing a little bit of color on my paper because I want to keep AIG of a tree trunks which is partially hidden by the foliage. And this is another technique that you can use to pay trees or to give the idea of masses of trees and rewards with a lot of a lot of vegetation. And then we have also a branch here. And now I'm tracing. Remember to trace your branches dimension which is not bigger than the trial, where they are departing. And as the branches goes opera, they are, the dimension is narrower and narrower. So it's something that you stopped baked and you end up very, very small. And this is something that you can realize. I mean, with a little bit of practice and pressing the brush that the base of the branch off of the trunk and then moving on you or the tip of the brush and tracing a very fine line. You can position the trees wherever you want. And you can also pay a smart trust you as much trees as you want because it's your own painting and I want you to read it. Think of while you're painting and okay. So you're very free to do this. Decide how many and how busy or how crowded you're you're forests can be. So another thing that I know that's a good thing that I want to underline is that when you are painting the trees, you don't want to have a very wet brush like any mutation of square root, because otherwise you will get them not of color. And maybe you can get on it will be ten gold and, or you can have some difficulties. So when you are painting trees, I usually go for synthetic brushes which has wish, I'm sorry, a very good boy. But they're not they haven't got a very big capacity of retaining a lot of color. Another thing that you can bear in mind when you're painting trees, maybe there are some types of fiber which are more suitable than other fruit simple. I will never use hot pressed water for trees because I like the fact that the cold press paper has a little bit of tooth. So it will give me what interests no, totally in the lines that I'm tracing for the branches, but also because it increases the effects of granulation of some pigments like e.g. cobalt blue or ultramarine blue, which are granulating pigment. And that's so that will give a little bit more texture to my trees, even if in this case, granulation is not so important. But if you're painting forests and woods, this is something that you may bear in mind. Okay? So another thing is that if you have painted green areas, you can tour in the board to to bind to your your brush or yes or your trees in a better way. So as I was saying, if you have painted green areas, you have to trace also some round just because the leaves that have faded are supported by something underneath. Be free to turn your board or your block of papers I'm doing just to feel more comfortable and to trace your brushes, your branches in the most comfortable way if we remember to add them because those branches or the CEJ tanks, because otherwise you will have leaves just operating the sky but with nothing underneath it to support them. And you can add more color. You can add different tones of color while it is still wet so that I can create very interesting fact. And if you think that the color that you laid down is a little bit too strong, you can dump that tissues, sorry. Or you can also use e.g. you can lighten up with clean water and then you can drop them with with a tissue. Because lifting color is something that a tree, It's very interesting effects. Or you can add different shades, e.g. we'd lighter colors, lighter browns, e.g. a. Simple raw sienna would be nice, not in this case because it's very dark, but it could be something really nice to do. Okay, Now, we can remove the masking fluid here and stopped, talk cool. The first part of our rocks. And let's stop here and see you when you have removed all of your muskets, believed. 8. Distant rocks: Okay, so now I'm going to paint the distance rocks that we have to bear in mind that the light is coming from this point. And so we have the upper part of the rock, so which is completely hidden by the light, so it will be almost white. And what we need to do is just to paint the contour of this rocks are not going to paint them in a very defined or precise way. We want to give the ADR. So I wouldn't mix the color and I'll want to sort of gray. Will you be using cobalt blue with a little bit of burnt sienna? I will get this kind of gray. I will show you all come closer to my webcam so that you can see better. So this is cobalt blue and burnt sienna. Again, you can have very different shades of gray. It maybe you have something more towards the brown, brownish color or even though towards the bluish color. Hey, according also to the quantity of new or L3 burnt sienna that you're using. It depends also on the brand e.g. burn center can be made by PB, R7 or B are one-to-one. See you can get a different color. You can use also Payne's gray, e.g. in a very diluted down concentration. Or you can use other grace that you have in your, in your palate. And the most important thing is that you get the tonal value as I was attending also before. And it doesn't matter if you have exactly the sushi haven't got exactly the same color. You remember that for the sake of variety, It's also fine to get some nice different shades of colors of D, also different shades of gray. You can have something more towards the brown or towards the red. Because the nature we have variety and we can add a little bit off the other browns that we mix before for the trees because the rocks are reflecting the lives and also the things that there are around. So even at the trunk of the trees as well, we are going to use a very fine brush or with a very good point here. And these rocks are distant, so we are very good. Dark tone, ultramarine blue and burnt sienna will be fine for this. Because I want to catch the the shade off the rocks. And so I'm going to put in the shades as First thing first. And to define than long did separate the shades from the rocks of the water. Now I'm using the C my brushes sideways and I'm going to off the rocks. And I'm not doing anything else than just the suggested in VHDL, so rocks that we see. Okay, So let's move on. Adding some darker shade. The most important thing here, it needs to get the right tonal value while we are creating the shadow of this, we are leaving that. The most important thing do you have to leave the white bar, the white paper because it reflects the maximum light. And I'm using now the peripheral wired color that we mixed together with cold blue and Alizarin crimson or peripheral magenta or whatever you use before. Then I guess you can use a purple color as I always say. And now we are almost done eating this area. I'm softening a little bit off with the tree trunk. And now we will leave that to dry. 9. Foliage: So now we're going to find the foliage leaves that we have on these branches. And then we will tackle the Lord. But now first thing first, you need a very old whether brushed with the brush, that chicken. Okay. I'm checking if it's all already dried. Okay. As I was saying, your brush that you can that's cheap weather, that you don't care that too much because otherwise it will end all ruined. Now we're going to use a little bit of lemon yellow. Now. Using a dry brush work, I drag my brush in an horizontal way and I'm scratching on the paper. I'm really trying to catch in the tooth of the paper as well. And I just want to cover a little bit also the area of the light that IN left in the center because I want to give the impression of the leaves. Now I'm adding a little bit of sap green. You can really use the colors that you had in your palate. And okay, we are adding leaves. With this effect. You see ashes is probably the best paper for this because it has a very nice texture, asha, cold pressed. And I know that we are going to cover what we re painted button. That is why, why I'm using lemon yellow, which is an opaque color. I'm rounding green, darker green. I'm now I'm adding to my fellow green a little bit of violet. And so you see I create these darker value. And in this way, we are going to create a three-dimensional idea of trees and foliage. Add the leaves where you think you need this should go. But be aware of the fact that you have to leave the areas of light. So you'd want to end with everything COVID Apple with the darker color that we are mixing just right now because we want to give the impression of different masses. So foliage. Feel free also not all fit for you. You need to use also a more dense color mix that the one that she used before, because in this way the corner won't flow everywhere. As usual in watercolor, we start from light and progress to dock. This is why I'm using the dark color just right now, but you don't have to cover up every every space in stay and it'll be back. Stop before covering everything. Maybe tomorrow morning we're fresh eyes. You will be able maybe to Ogden some darker areas but for now, stopped before because otherwise you've count. Go back as you see how I'm using this technique also for increasing the bushes in the far distance. And I'm mixing the green set in this way. And now I'm adding more yellow because I think this area needs to be bright and a little bit. And move also in these ways you see I'm moving from left to right. If you are left to hand, it will move from right to left so that you don't smudge all the things that you painted before. And even using the dry brush, we're don't cover everything, leave the trees. The ranges that you've painted before, our org lists some of them still visible because you don't want to cover everything. So if you haven't gotten lemon yellow, cadmium yellow will be fine. Otherwise, you can make it a little bit off. So white gouache with your lemon yellow, you will get even a more opaque color that we'd cover the branches that we have underneath. As I was saying before, we are creating an impression of depth because we haven't got the sky really. We need to give a little bit of perspective. This is why I am using, I am layering different colors. And anyway, don't be afraid of trying this technique because it's really simple. And try to give an idea, an impression of trees, but you can move your hands freely on your paper because in nature we haven't got very precise trees or Rogers. They are all put in a perfect way and buying Mother Nature, but we're better off for it. Some cool, something man-made here, it's white, so please try to protect this area. Now imagine that a little bit of red ocher, burnt sienna because I want to change the color and I'll want it to be darker. And okay, so here I'm adding a little bit more contrast because I think that my, they've my painting good benefit from that. I'm using as a C always my dry brush technique, using my brush sideways. And I create the impression of this new foliage. Leaps in the very far. And now we'd love to my other brush. I'm creating, I'm dragging some grass or wheat or whatever just to create different aspects. And to give you the yes, the ADR or RAS. Anyway, this your watercolors. So if you don't want to do something that I'm doing because you think that your painting doesn't need it. Feel free to manage and to control chap what's happening on your paper. And C3 2-OPT at some details or not. If you think that they are useful or not for your ankle position and for your final result. Now we'll put in also little bit of grandson up psi. I really like the red, a component in the very far distance. It will help to break all these muscles green. And also on the rocks, eight will give a little bit of a nicer shadow. Okay, now we can move to water in the lower part. 10. Water far portion, second wash: Okay, so now we are going to mix some dark green again, final green, then the final blue, together with cadmium orange. This was my previous combination of colors, but ISTE haven't got this red color, so you can use cobalt blue with, I'm sorry, all-terrain new we fail agree. And cadmium orange, It's very dark, very, very dark mix of green. See, you get, you should get something like this. And you should also have something thick, not too watery. Consistency of this washer is pretty dense. And check your density. And when you think you're done with mixing these color, we are going to use. So for the first part, it's a combination also dry, wet on dry and another bit of wet-in-wet. So now I'm using my wet brush on dry surface. And then I always ask, sorry, I'm also softening. I have my knocking my kitchen roll ready. And as you see, I'm softening the lower-class of the lines and I dos trace it because I want to recreate the impression of sparkling water, but not completely white sparkle. I just wanted to give an idea of shining water. But recreating also the idea of movement and the ADL flakes and also of deep water which are darker than the wasps that we can have in the very foreground that are, of course shallow because we are close to the to the observer. And so you see I'm working wet on wet and wet on dry and I'm softening the snow work bot. And this way we created the idea of movement of water. So here, be careful, tried to live a very fine line. That's a break the rocks from the surface of water. And I'm adding a little bit of dark also in these rocks just to give them work. Three day mission. And so we don't want any harsh lines. So here e.g. I. Am softening. We don't have a bit of clean water, and I just want that to be completely soften now we'll leave that to dry and we will remove the masking fluid from the rocks that we have on our left side? Yes. Because this way note I will stop here because it's a little bit too wet steam and this in-stock good. Okay. See you later. 11. The rocks : Okay. So I have removed the masking fluid from some of the rocks. This is a good moment if you want to trace some of the lesser tubercle, the last two, we have to remember that we need to leave some whitespace from warm rocks and the other because the upper part of the rock is heated by the light, does so it will be totally white if possible. We need to prepare the color of the rock. So once again, because we have to we need to have them ready. Um, because we will be working mostly wet on wet. So we will need also a little bit of yellow and a little bit of green. Because I was telling you before there might be some literacy or Moses or our rocks, or because they reflect the economies of the things that are around them. So now I'm taking my pencil and just want to define a little bit to draw again a little bit of the lines that I lost. If you want, you can do that. Okay, so how do we start painting? We need, first of all, brush wishes of the appropriate size for the rocks at your painting not to bake. And now we can wet the area as we did for the central layer of this painting. We are going to leave some, we're going to do live saw a very fine line of very fine space, so totally dry. And now we are putting our water just in the lower part of the rocks, which is the part which is in shadow. And then we start always from light to dark. We are going to put in some yellow, which is a little bit dirty because it's more of a greenish yellow. Anyway, I live that way. I'm going to create a little bit of brown with my cool blue and burnt sienna, but feel free to mix the color that you really like. And as you see, I'm putting in the car in the bottom, but I don't want the color to spread all over the surface, often rocks. And then I'm taking and also my darkest value, which is ultramarine blue and burnt sienna. Because I wanted to be really conscious and to give me the, the idea of shadow on dishwasher. Because I want it to be really die. Silly tweet contrast in a very nice way with the upper parts of the rocks that we have underneath this one. Because as we said before, the other part of the rocks will be full of light. But this is a very good brush that I use for painting rocks. It suddenly mutational squirrel than I really like also from lifting because it is very soft, softer. So I have a very good results. Why we need lands are not too harsh and when it comes to mixing the color on lifting them in a very, to get a very soft results. This is y. So here we are leaving dry the rocks in between because we don't want the color to spread all over where the one that we just painted and the technique is always the same. You dry with your clean water all the surface leaving a very fine line or July and then you start to put it in the color of the light one degree, she's always lemon yellow from the very bottom. And you tried to stay away from the upper part so that the colors flow colorfully in a very natural way. Now I'm running a little bit of green, but they do not touch or at least they do not reach the upper class. Now, I'm putting a bit of burnt sienna as a cheesy please. Red ocher, burnt umber, raw lumber. A brand that you like. For the sake of variety, feel free to use different browsers, different cues also gray if you like, you can use darker greens. You can use via nurture as well, which is a color that is really nice for the rocks. So violet or purple, this is called blue and promote Commie. Hey, you can use smarter as I was saying before. And I think that this is really nice, very nice shade. And now again, cobalt blue and burnt sienna. This time I got a very dark brown, not as, not as dark as the one with ultramarine blue, but really die. And now I'm encouraging the mixing of the colors Dustin paper and I'm trying to blend in them. We're using these Rush. She's very soft as always study before and it retains a lot of color, so it really allows me to bind a good amount of time without needing off stopping and taking some water color. And as long as it is called fully wet hoodie and also some areas of dark in like I did just before. So you get the bar to meet the the darker areas. So if it is dry, you can move on to these rocks and you can remove the masking fluid. As I told you before, we need to stop because we were disturbing the areas that we had already painted black. I'm I'm you know, that the rocks that I just page in our drawing, so I want to stay there with no smudging it. Also, I'm pleading these splines which are in the upper part, and I'm going to play them in the same way that I can use a smaller brush because these rocks are far. And for these rocks I think or we go back to my dry brush technique with gray. Just to give a bit of gray. The shadow area. Match your brush now and create just the contour. The, the, the, the, you have to give the idea of rocks. You, you don't need to be really precise. Add some dark colors on doing here to give it more of a three-dimension aspect. And then C-suite to blend or less, or dark blue tissue if you think that you went too dark. And also here, in this case, we have the shadow on the other side. It's not on the right side of the rocks, but it's on the left. And I'm using my gray color are made with cobalt blue and a bit of burnt sienna. I didn't get a little bit of purple, but really feel free to use the color combination and the color mix that you prefer. Feel free to invent, to improvise also be done. Tried to create very nice color of rocks on your paper according also to your own personal taste. You can put in also some green to create the ADL Ross here and there I feel like that. Feel free to experiment with the stirrups or something that I really like to bite. It's like meditation. To me. They are nice, nice subject with a lot of possibilities. There. There is no wrong a stroke on a rock and something went wrong. You can always do something to make it right. Now. We are going to Emily and taking away the masking fluid also here. Okay, I will write this rocks day as you see, I'm creating the shy off the rock with no pencil drawing really guidance underneath. But if you think that eats new accessory, feel free to do that. I mean, he stopped before painting. You retrace once again the shape of the rocks and then you start to pay them. I really like to buy into following the impression or the movement of that bill went. But if you need something, you don't want to improvise. This is strongly advised to stop within the drawing, the drawing line and then go back. So I'm increasing also the dark tones at the base of the shocks. Because they are a little bit too light to me. But maybe you don't need to do this because on your paper it's already right. Anyway, we can always check in when it's fully dry and if we need some some other d chance or some strong dark areas. So I'm repeating the process for all the rocks that you see, that you will see. And so the process is always the same and you need to start with a base of piano, and then you start to put in the color that you really like, e.g. in this case, I'm using burnt sienna. Like to have something reddish to contrast in this place of the painting. And then I'm mixing again ultramarine blue and burnt sienna. I just want to very, very dark tone this time, this time. And see when the corners will be totally dry. See what a wonderful walks you get this wide is the cauliflower, some paper. And it says on paper and you get really something that you wouldn't have. Also say You see I've taken some greens and putting some green, some soft cheese. You can use also hookers, green or whatever you have in your palate. So as the process you see there is a little bit of repetition. I will see you on the other side of that and I will leave. You saw music so that you can go on painting rocks. And feel free to use the color that I'm using just through the guidance, but I tried to create your own personal locks. Good. Good. Okay, so now we are almost done. We are at the very end, this part of the rocks. And, um, Okay, One thing that I have left, e.g. if you see that sums in some areas they are too light, you can always start a little bit of color. And you can also add some details doing some dry brush work as you saw me doing along the way. Before doing any brush dry brush work. Aware of the fact that no stalls must be dry, otherwise it's not dry, Russia, but it's a little bit of wet and wet. And I think that now we can move on to the remaining rocks. 12. Water final wash : Okay, so now I have removed completely all of the masking, see that I still had on my paper. And I have done this operational very carefully because I didn't want to touch the Moxa. Anyway, we need to add the reflection inside the ears that we left white. And we want to create that beautiful sparkling effect and the impression of water moving and meet Chuck, then be sure that you have masking fluid, wouldn't be sure to have enough color around mixing again, a little bit of my dark orange that is fan of green, yellow, blue, and cadmium orange was I told you before. And I want it to be really dark because in this case I'm going to move me to paint my darkest value because they want a high contrast that the dark is the value. The higher, the darker, sorry, the darker the value, the higher the conscious standard, the greater the sparkling effect. It must be really dense so that when you drag your color on the paper you use it, you have a little bit of white left by the tooth of the paper that will increase the shining effect if you use a very moving my brush with a very good point. This is the number two and it allows me to draw even very fine details. And if you want a line which is a little bit stronger, you just have to press a little bit more. And you use also soft brush, e.g. this one is not too much synthetic and it works really well because it's not too elastic. Okay, So if chalky, if you think that this number is, the number that you're using is either going to be q because we are tracing very fine lines. Switch you use also e.g. a. Numbers theory depends on the brand that you're using. So you see that I'm adding the shadow water and then with a very fine brush and wishes a little bit softer, I'm going to wet the area underneath the shadow and I am softening that suit and we have a harsh and soft line the same time in the same position. And it creates the idea between how to create the ADL fan off away. So let's put a little bit of shadow also. Wonder these barcodes everywhere but just to indicate the movement. And for two, because we see the sparkle, but there is water moving underneath and we have also announce page rocks here. And as always, check how we will match your painting. You just want to indicate the shadows, but you don't want to cover all the white areas that we decided to leave white. So don't be carried away with this this, this part of the painting. You need to be careful and watch what you're doing. If you think that you are putting too many lines, please stop yourself. Take a break, maybe super cup of tea or coffee, whatever you like, or maybe stopped painting and go back to that the next day so that she looked at it with fresh eyes. And you can judge, you can jump in a more relaxed way. In a fresher way. If you need well, other nice or not. And if you need to add some dark areas are worn off. Because once you've covered your room, areas of white, you cannot go back to white with water color. So now I'm adding a little bit of reflection of dark and flexion close to your rocks. And the ending, this reflection, one-by-one. Just a little bit hold. So here B, I mean, try to use just one stroke. Joe, do small steps. Now I'm softening again. I'm using a bigger brush here. Now. I believe inflection on the Alice side, following the shadows to Zach's and create all to some movement in these big area of y two. But we left the very beginning of this process right? Now only and try to use dance mixture. And I'm using to see my wrist is close to the lower border of my block. And I moved using a guidance because I want to draw very straight line because water comes to a level leads. We can really trace the lines were we are moving up and down. So we need to be to go straight. And this can be a little bit of a trick to use. Now, you see that there are some rocks underneath e.g. in this area we have some brownish inflection. If you want, you can increase this corner going back with a little bit of burnt sienna. And I'm softening the lines again. Then go where we'd solid dark color. Okay. You didn't need to leave too many white spaces, but it's just a matter of policy you need to evaluate to if you need some more or there is no need to add anything. And now we are at creating a little bit of smooth mental see this white, make white area because even if it's all enlightened by the sun, we still have a little bit of shadow diffuse, so we have repugnancy in water. And we want to create this, this nice effect with a high contrast values. So go dark, gold bowl we're color on. Don't be afraid of the fact that it may be really, really dark because as I told you before, it really helps with the conscious and the tonal value. And it will make the white shy even more. And use these thick mixture so that when you drag your brush on cold press paper, you really take advantage of the texture of the paper so that you get a very nice result because the lines are not straight and heat, but they will be broken by the texture. And this is something that you have to use, a true red bondage. The, the, the paper, the materials. So as you choose, she'd always be planned and there'll be an advance just so that you can take advantage of the main characteristics of a color, of a pigment or vapor. You need to know very well also the instruments you're using, e.g. if your brushes, how much water brush carry tide, and so on. Okay. So now we are adding the final details. Okay, Also here. Yeah, I'll dig in a little bit of reflections and now let's see maybe a little bit of dark here. And also here of the very far end. Follow will tell. Okay. So also at the base of the rocks is a good, nice work. You need to put in some way. Still strong dark areas that they can ballpark. Really softening the lines where I think they need to. We are about done DNA art, where you need to lead of DJs but not too much. I see you see how they did the dance. Mixture conscious trading well with the white of the paper that we love to sell, I think that we are really close to the final touches and we are almost done. And I will stop here and then we'll come back for the very final touches to finish and king in tie everything together. Let it dry and then we will go back. 13. Final touches: So now we're going to use a little bit of white goulash should be consistent. I lost that line, the white line between the rocks and the surface of the paper. Maybe you need to do the, doing this because you maybe even take that line. And anyway, I'm adding a bit of white gouache in these areas because they want to keep it really fine. Now I want also to add some leaves, e.g. here, I put a little bit of white gouache on my one corollary of my masking tape. I don't put that in my palette because otherwise on that all of my colors will become opaque white. And I'm adding a bit of lemon yellow, mixing that old voice in this area. So what I'm trying to do is to get a yellow gratia or and I'm using that to apply a little bit of fleets a light to my painting in there, I can recreate this sensation of the leaps, lightened, heat by the sunlight. And e.g. just, just few dots you can use all from the dry brush technique in this case. And if e.g. you were painting a Knowlton tree, you could add burnt sienna to your white gouache and get some orange trees and leaves. And now I'm adding also a little bit hafnium, the mixture of the dark green made from cadmium orange, yellow, green, and blue. Because I want to add a little bit of contrast. Here we have, you know, we are creating a little bit of three-dimension in this leaps in, in the streets and three will be masters of foliage. But you can really check what's happening and maybe you won't need this. Hello. Okay? So I think that we can prepare now the color, the color for the shadow that we have to cost over our rocks. And if you need to clean your bonnet, please do so. You see my Israeli. Anyway, you have a little space and I want to mix it a little bit of cobalt blue and also a little bit of alizarin crimson rose mater per month and calming whatever you like. And to get this nice purple color, the same color that you used before, and more or less the same. I like the shadow to be more bluish than red. And now we are going to add our media, our shadow, and you see that they really, these rocks will pop up and everything will come out and it will be even rider. Okay, so we have the shadows of the branches all over the rocks. Tried to to paint I suggest, you know. Yes, a suggestion. All the branches, the shadow of the branches, very simple strokes. Don't be worried about the fact that they might be no precise or two similar to, I mean, you can really scratching so freely and as long as you trace the sun lies them. Recall the, the shape of branches and all the elements that are missing will be recreated by the eye of the observer. So you know that you are creating an impression or favorite thing. It's not. Again, not a picture. Moves for creation of file. A painting. I think I will add a bit of shadow also. Bushes between the trees. Foliage may be a little bit, just because I really like this color combination. And now I'm removing I forgot to remove this area. In this area, the masking. Okay. This area is the area of light. And I'm going just to add a little bit of details just to keep the idea of the rocks. I'm adding just a little bit of seizures over here. Okay. If you want something I'm not going to do, but if you want, you can paint some lines, reverses. Thanks that you see normally on rocks and not too many. But just to make those rocks are more credible, more similar to the ones that you would see. A landscape like the one that we are painting. But not too much because I don't want to overdo that Tor work that okay. I think we are done and we can call that finished. I'll see you for some final thoughts. 14. Final thoughts: So we are at the end of this very long lesson. I hope you really enjoy thinking that for me and I hope you had a chance of learning all the things that I tried to show you all the way. The method that I use for painting rocks, for preserving the areas of why choosing the masking fluid. What I like to use this with the shades of green and the conscious that are creating using e.g. pianos and fewer purple color. And hopefully, you probably also learn how to paint very different shades of green. Started with a very few colors and hopefully the interface, the result that you got together with me. One of the thing that I would really love is to hear from you all your intestine opinions if you have any troubles, any questions, so please feel free to ask me if you need a little bit of help for throughout the process. And so in the discussion section of this tutorial, I would really love to see also your progress, your work in progress. So e.g. if you take features of you are off the stages of your paintings. And because this is really important to me. So if you tell me if there are any questions or I need point in this class, but are not as clear as I thought they should be. Feel free to ask in that it will be a pleasure for me to give you a piece of advice and share my knowledge with you. If you want, you can follow me also my social, Instagram, facebook, or to pay a visit to my YouTube channels. You will find all the links and my Skillshare profile. And as always, I hope to see you in my next Skillshare class. And in the meantime, happy painting, Bye.