Watercolor Textures & Frozen Lakes

1. 1. About the Class: Lakes and ponds may look serine and lovely, but the colder Venter just delivered them to another dimension is ended with the temperatures dropping below subzero. The topmost layer of this lakes and ponds freezes, creating an astonishing variety of patterns and textures. From those cracks do jagged lines to frozen bubbles. They look just fascinating and mesmerizing, isn't it? Hello guys. I'm Neil. I'm an artist and an art educator based out of Bangalore, India. You could find me on Instagram under the handle name means artsy underscore go where all my artworks are displayed over there. Also, you can find me on Pinterest, YouTube and Facebook, the link to which is given on my Skillshare profile. Welcome to my Skillshare class, which is the last class for the year 2021. In this class, I will be taking you through all the unnecessary tips and tricks and techniques which are required to create beautiful watercolor textures. We will be learning to create this beautiful background textures using very common ingredients which are available in our kitchen or in everyone's household. About from the techniques which we are going to use for creating our practice project as well as the main project. I have included an additional lesson for this textures, where I have shown how you can create different kinds of textures using different household items. For example, spawned, you know, a palette knife, tissue, paper, leaves, even I have included Rosemary so that you can absolutely have some fun creating this textures. And it will also give you an outlook how you can incorporate this textures into your paintings. A warm-up lesson has been included before we Kickstarter mean project, which would help you to clearly understand the techniques and the approach that we would have when we start with our frozen ice lake for the mean project. So do not skip this practice lesson before we start our main project. Because in main project we will be including some other elements like a mountain and the sky. So come join me in this class and let's learn more about watercolor textures and how we can incorporate them in our landscapes. So I'll see you in the next section. 2. Materials Required: Hello, guys. Hi, welcome back. And let's quickly take you through with all the materials that we are going to be using for creating a class projects. First, beginning with the people. Now the people that I am you're using is from Archies, and this is 100 percent gotten 300. GSM is the thickness of the people and it is all fine grained. So this is how the texture of the paper is. I'll show you the texture up close so you can see right how grainy or textured it is. I love using this paper because of the texture that it has. Even though it does fine grain, but it works beautifully for creating various textures. Now this is the size that we are going to be using for our class projects. I have cut the paper into a size of 26 centimetre by 18 centimeters. Now you could select any size of the paper. You can also select the A5 size she or an A4 sheet, anything that you are comfortable with. Now, let's take a look at the next material that we are going to be using. So your gums are brushes. The brushes that I'm going to be using are from Silver Black Velvet Brush and Princeton Brush. Now you're I'm going to use three natural hair brush and one synthetic hairbrush. The ones on my right are the natural hair brushes and the one which is on my left. Is this the big hairbrush that I'm going to use for creating little dry brush strokes and little detailing? Next will be our palette. So this is a mixing palette. This is a ceramic one, but you can choose to use any blade or anything of your choice that you have available at your hands reach. And these are some of the items that we are going to use for creating textures that was solid rosemary. Different textures of salt. This is the bubble wrap and cling wrap. Now, using your household kitchen items, you can create beautiful textures on your watercolor paper. Now there will be some more of this ingredients. Do not worry if you I'm not showing you your, there will be a detail section in the next lesson and here will be a palette knife. Now, if you do not have palette night, you can substitute it for a card and this is sanitizer now instead of sanitizer. Your best bet would be your isopropyl alcohol or rubbing alcohol. You would get the desired result with that. And last but not the least, I will be needing two jars of water, one fresh water and the other one for washing my brushes. Oops. My snowmen fell down, so I'm just adjusting him back to his position. OK? The next item would be our tissue paper. Now tissue paper is a must. It will also come in handy when we are creating textures for our watercolor paper. And there goes our masking tape. Now you can use masking tapes if you want to do have a clean outline or borders. And that's pretty much it. And yes, the very important thing is our beams articles. So how can I forget that, right? So these are the colors. This is from Shinhan Card or BWC. So do not worry, it is not mandatory at all to use the same kind of colors that I'm using. You can go ahead and use any colors that are available with you. You can always, you know, mix and match your colors. I'll be here mostly using those shades of blues and yellows. So these are the swatch cards for the other brands color that I have along with me from White Nights and Magellan Mission. So these are the Blues. So in this class, we would be mainly focusing on a darker shade of blue and some yellows and some Bastille pinks. OK, so grab your colors and yes, get your materials ready, and let's jump start our next lesson. 4. Texture & Techniques Part 2: Hello, welcome back and welcome to the Part two to offer textures and techniques section. So in this section, we are going to experiment and have some fun with the other ingredients as well. So this is kind of experimental section that I have included for you guys. Now here is a list of the materials that we will be using, but it is not necessary that you need to stick by these materials. You know, go explore your kitchen shelves and find out some of the ingredients which you think may add texture to your backgrounds and grab those and do this fun exercise. This will also increase your knowledge about the water, the materials that you can use for creating some very interesting watercolor backgrounds. Starting off with my first grade, so I'm leaving and gradient wash of colors, so I'll be using your my bubble wrap to create the texture that I want. So in a while that after I'm satisfied with this gradient blend, I will grab my bubble wrap so you can collect this bubble wrap from any of the package that you receive at home. So I have collected mine accordingly. I'm basically a hoarder. I never, you know, do away with all this stuff, so I hold them. And so here it comes handy when they want to create something fun and interesting. So press the the, you know, bubble wrap with your other hand, so that it imprints on the surface of the paper. Let it get dried. In the meantime, I have started out with those second grade. Now, in the second grade, I will be using a kind of sponge wrapper that generally comes with the package. This is another kind of packaging material, but unfortunately that material did not work because it was still take. But anyhow, I have included this process here so that you have an idea of which materials may work on the wet people's surface and which materials may not work. So I have come to this realization that, you know, thinner materials work best on your wet papers office, but the good ones do not work that very well. Now I'm trying to press down the paper on the paper surface, sorry, this sponge wrap on the people's surface, but as you can see it, just to take and hence I don't think so it will really work out. But anyways, let's experiment and see a way out for the end result. Now I will let this air get dried and I will move on to the next grid. For this next one, we will be using our palette knife. Do not worry if you do not have palette knife, if you have a brush which has a sharp pointy at the back of it, you can even use your brush to create the texture that I'm going to demonstrate you here. Or else you can always go ahead and pick your expired debit or credit cards or any shopping cards. Basically any cards, which is little take and, you know, is sharp enough and has those sharp edges, whether it be rounded or spread. OK, so you can grab those cards, but do not you not take take out any cards which you are currently using that to me hamper with the chip that is there in the card. So always go ahead and take out cards or ask your parents to provide you with the cards which are expired or which are not in use. Now you can see how I'm creating these long strokes with the help of the edges of my palette knife, and I'm using my cling wrap on these strokes that I just created with the ballad Navel Gaze. So when you, you know, scratch the surface of your wet paper, which is loaded with the paint pigment with this kind of palette knife or any sharp object, it, you know, scratches the people's surface and the pigments get stained. Okay, so into the boards of those paper hands, you get those effects. So this technique is very widely used by loose watercolors whenever they are going and painting any, you know, background blurry parts and they want to create, you know, branches or stems. Moving on to our next grid, that is a fourth grade so far, this grid, I will be using some rosemary now. You can go really, you know, creative, but then you can use all your dry spaces, you know, which are little course. You can also use your ball papers, your rice grains, shorter rice grains or the longer rice grains, even your chilli flakes. You're not. Chilli flakes are oregano. It's no harm to experiment, right? So just go creative grab. You know you would always have this small, small sachets of leftovers that you may not be using. So grab those ingredients and write this fun thing out, and you will be amazed to see that different, you know, elements or ingredients create different kinds of textures based on their shape and size. Now, for this next grade, it was totally random and experimental, so I just decided to I will create live patterns on this red background. But since it is already late at night, I couldn't, you know, go and grab any leaves from my other plants. So the one that I have along the table this filter trained on are the broken heart. I grab those leaves and I try to create some texture out of it. Now, when you are drying out this leaf patterns on your red paper so you can go and grab any veined leaves, you know, some leaves are more range than the others. So Jews are going to need your hunting and collect some of these leaves that you may see falling over or you may have a chance to pluck them. So go collect those leaves and you can try this exercise out. The shape of this leaves are two rounded, you know, and cold, so it is really not going or staying flat on the people's surface. So, you know, when you are choosing a leaves, bear this in mind, it should at least have a flat surface so that you are able to stick those vein part on exposing to the peoples of, or that the pattern is etched on the people. For now, I believe I did and let this get dried out, and we will be starting out with the next grid. Now for the next script, I'm laying a flat wash of water, and I will go with the same technique that we have been using for all the other grids. But Don, Robert and I will be going with a gradient, so it is totally up to you. If you want to go and have a blended wash, you can go and create uniform, blended wash or you can go for a gradient wash. Now you're I'll be using my textured tissue paper. You know, some tissue paper rolls that comes along will have some kind of texture on it. You know, some boards like structures on it, like you can see your rates. So I will be using the reverse side of the tissue paper, which has these boards like structure, and I will be using that and dabbing it on the surface. So it just kind of lifting technique. But I'm not lifting Asper, you know, a certain segment or section. I am just going randomly trying to create the textures that I have under. There should be a bow and, you know, lifting of the paint, dabbing it on those areas so it will create a kind of very beautiful and bloody kind of texture. Our paper has finally dried out completely and we will be removing this, you know, the bubble wraps and the other labs that we have placed on the people, and you can see the leave one did not really work out. It is still wet because the leaves when are the rest are not staying flat on the peoples of is. Neither was this von Trapps. So I have decided to show you this sponge technique again. So here I will just go ahead and use my regular sponge. Now the sponge I have, you know, you're not rerated my sponge, but it is not, do you know, filled with watery? I have squeezed out the water and it is just damp sponge that I will be using on my this wet background that I'm creating again. OK. So in a while, I'll be using our dabbing my wet sponge on this wet background. And this will be also kind of the lifting technique where the sponge the balls on the sponge will create some, you know, structures on. The people are creating a very soft look into your background, so it will be very interesting. Once the paper is dried out completely, I'll be showing you it. It just kind of giving a very interesting look to your people. You know, you can see that. My waiting period is over for this leaves. I cannot hold any more patience and I'll remove my rosemary do. I can see that my beeper has dried out completely, so it's finally time that, you know, we can build off our masking tapes and remove all the tapes from all these sites that we had pasted. And yeah, we are done with that next year. I'm really loving the textures that we have got interesting, wasn't it? I hope you have had some fun when exploring and experimenting with this ingredients or materials that can give you such beautiful textures. You know, you can try out different other materials, too. You can also go ahead and use your combo, your toothbrush, you know, options are really endless. This entire texture could have been one single long glass, but I decided to stay put with this ones and thought to sure, you bring to you how creative you can be with the different materials that you have in your household. So I hope you are excited. So now let's jump start with our practice session. In our next lesson, we will be using few of this textures to create this beautiful warm up project. 5. Warm up Project: Ice Cracks on Frozen lake: Hello, guys, welcome to the Warm-Up session. Now, before we begin with this practice session, I want you to take a close look at these reference pictures and see the kind of textures that we want to achieve for our this warm up practice session. So those reference pictures, when you observe closely, you will see that, you know, there are a lot of bubbles underneath and a lot of geometric patterns also sometimes along with the jagged lines or the cracks of the ice. So the easiest way of attaining this kind of textures on a bigger or a larger surface area would be are cling wrap. So this would make our life very much easier when we want to create this exact same textures like the reference pictures. OK, so I'm beginning with first, though wet wash off my beeper now I will evenly and thoroughly coat my beeper with this water. And you know, I will go with the long and even strokes, ensuring that the water is well distributed at each and every corner of the people. Make sure that you do this Deb very thoroughly and ensure that your paper is bad enough for you to create beautiful, softer looking background with some textures. This is very, very important. Step guys. You need to have your paper wet because we are working on a larger surface area. But if you choose to have a smaller, low people size, then you know you won't be having much of a problem in making or retaining the richness of your paper. But when we are working on a larger piece of paper like this are larger than this, such as A4 sheet or an A3, a Doeschate, it is very important that you know you divide those sections of the paper and read them thoroughly so that you are able to create your beautiful, softer looking background. Now, I hope you are observing the way my brush is moving along the people. I am going ahead with long, short and even some random strokes on the paper, but my tonal value is differing. I am going from darker to the lighter shades, and now this darker to lighter transitions is very, very important when you are painting this frozen lakes or cracks in the ice because wherever the cracks are occurring, there will be this light lighter values because the light is passing through those cracks and is getting illuminated. So to make those areas glowing, we need to go for the light values where the other surrounding areas we will have to go and, you know, layer it with darker values. So in that way, the glowing part of the painting will be enhanced. You need to work a little faster, because if your paper starts drying out, then you will not be able to create those beautiful transitions from darker to lighter values and you will be having some very nasty hard edges into your people. This is the reason why I always emphasize on the fact that you must be at least using 100 percent cotton watercolor papers, even if it is not. Art is great that will do, but ensure that you were at least using a good quality of 100 percent cotton watercolor paper. Because when your watercolor paper is right, half of your battle is one that you know. Paper plays a very, very major important role in bringing out the beautiful effects or the beautiful painting that you want to create. I am pretty satisfied with the way my background is already looking, the glowing light and dark areas, so I will let it be, and now it's time to work the magic. Yes, we will be using our cling wrap and let the magic happen. So I have your card long grab of almost all kind of same size as that of the people. But you can also create this bits and pieces of cling wrap and use it to create textures on the sides of the painting as well. Now, the center part is the main important part. So, you know, use a bigger chunk of your killing rev for that area. OK. Now, once you have set your cling wrap on the vet's office or let it be, do not, you know, pick it up or again, lead back once said later, just be it will automatically create some beautiful textures underneath. You need not worry about it. Okay, so let it dry and then we will wait for it to dry completely and begin the next steps. Now, our paper has dried completely, it's time to remove this ceiling wraps and look at those beautiful textures that we have got, you know, we have even got some of that bubbles and geometric patterns as well. So it is really looking very beautiful and pretty. Now it's time to go with the whitewash, so I'll be here using my whitewash. This is from Drew Straw, but you can use any white gauze that you have, or you can even use your white watercolor paint, but make sure that you are using it and not very thick consistency. I'm trying to dilute my white squash, and then I will begin working with my palette knife now in case if you do not have your ballot and I do not worry, you can go ahead, grab those cards, you know, credit cards or debit cards, which are obviously expired or even yard. Do you know any skill or rule or like a steal rule or anything shop that you have with fine straight edges that would do? I'm layering my palette knife with, you know, that wide wash with the help of my fingertips because my palette knife was not able to to reach out to the hogwash that I just diluted in that palette. OK, so now I'll be using the sides of the ballot and creating this long or straight or crooked lines. OK, just along those textures that we have obtained with the cling wrap, I will go. Follow along those same lines and I'll create this dry brush kind of technique, you know? So since this gorgeous kind of take, it will create some dry brush, beautiful patterns. You observe closely how I'm doing it. If you're not confident going directly with your palette, knife or your card, practice it on a separate piece of paper or any surface. And then when you are confident, go with the go with it on your painting. This process is absolutely fun and therapeutic, and you will absolutely enjoy doing this, you know. Do not fear, do not worry, just go randomly with this patterns. Just follow along the textures or the lines that you have already got. And just, you know, go with the flow, basically. You need not worry or, you know, be scared. This is very, very easy. And the way I'm showing you the techniques, you will feel it a lot easier when you are doing it by yourself. I'm trying to connect those lines, the straight or the crooked lines in some way or the other, and create some broad strokes as well as some Dennard strokes as well. So just to go along with the flow and keep observing my movements, I would urge you to observe the entire painting and then maybe you can start on your own. After a while, I think I will be using my synthetic brush, the long down brush from Princeton Velvet does CDs and I will be creating the dry brush patterns. I am just going to create this very thin air and some somewhere broader strokes, and I would just try to connect those lines that I just did with the palette knife. Go very loose and handedly with long and steady strokes, you know, make your wrist flexible, and that way you will be able to create this longer strokes more easily. Now this requires some practice, but with time you will also be able to do it now. Always go with very light handedly and do not over. Try to overdo it. Too much of this textures, you know, then the underneath those geometric patterns will get hidden and I think I will stop it here now and wait for it to dry completely. My beeper has dried completely, and I'm just loving the patterns that I have achieved in using the Sling Wrap technique and the palette knife. Beautiful, isn't it? So it helps the paint, you know, blotched my people over there, I did not get clean edges. So always, always make sure that you deep down your paper very thoroughly. There must have been some gap or that issue was not paper. So the paint to leak through it when I was working there don't read anyhow. You can always chop out the sides and retain the main frame. I'll see you in the main project. 6. Class Project -Winter Sunset at Lake Baikal: Part 1: Hello, and welcome back to a mean project, so before we begin, let's quickly take a look at the colors that we are going to require for creating our mean project. So I am going to go with a till sunset sky for the main project. So your composition will be the sky of middle ground mountain and in the foreground, we will be having our frozen lake. OK, so that's the colors that we are going to require. Now I'm arranging these colors on my this ceramic palette one by one at different corners. So you can also, you know, arrange your colors accordingly so that it is easier when we are starting out with the painting for you. Do not again go squeeze out the colors. You can directly begin out the colors once you arrange your colors and your color palette or the ballot that you are using. So here is my cadmium yellow deep now this color we will be using for our sky. The next color would be our cadmium yellow light. Now both of these colors we will be using for our sky, along with lilac and the bright shell pink or the basal pink. Now, in case you feel the shade means that I am calling out may be different, but these are all based on shades. You can mix a little bit of your white squash with your regular beams and make them turn based on OK. Now, for example, this lilac you can obtain by mixing a little bit of your blue along with your pink like opera, pink or any bright pink, and mixed this color to get a brighter purple. So with that bright purple, you can mix your white squash and turn it and do this based on shade now that we are done with the colors. Let's briefly look at the sketching part. So here I am, using my pencil and outlining almost three fourths of the people the horizon line. Now you're just right at the center. I am going to go and create this tilted kind of mountain. So this is the main mountain ridges, the Baikal Mountain, which is situated in Siberia, Russia. So the inspiration is from the photos that I was looking at of Lake Baikal and its frozen lake. It's one of the most most popular lakes and the winter sightseeing places in Russia, and it is quite famous across the world. So I will begin with my skate by layering it with some water. Now me do this, Deb, very, very cautiously. You should not be allowing your water to seep into the mountain, so just go around the mountains and read your paper uniformly and evenly. Now we will be starting out with the colors, so I will go red from light to dark. So I'm starting out with my lighter tones of yellow. So I am. You're going with the mid value intensity of my yellows because once the paper dries, it will eventually be a little bit more faded out. OK, so go with the mid value tones of your yellow now towards the upper portion, go with the lightest stone. So when you keep dragging your brush, the colors will automatically start lightening out as your brush moves across the paper. Now, grab some of that pink and lay it on top of that yellow that you have just layered on the topmost section. So this is how we are going to work right on red and create a beautiful soft door based on sky. Always observe the brush strokes that I am doing. I am, you know, going from one end of the paper to another end with very long, gentle strokes of my brush. If you are someone who is always very intimidated paintings, guys with watercolors, then I have a glass for you, my glass on painting 15 days of expressive watercolor skies with watercolor paints and inks should benefit you. This glass was designed absolutely for beginner to an intermediate level. Art is where we have seen over 15 days different tips and tricks, how you can create beautiful, stunning skies and also some very dramatic skies using inks as well as your regular watercolor beams. So you know that glass is highly recommended for you to check it out if you are a beginner and is stretching our skies for the first time. So your first sky, I have started out with my Blues and I'm going from, you know, the corner end to the center using the slanted strokes of my brush. So as I'm going towards this and though my strokes are getting lighter, so when I'm starting out, I am, you know, laying layering the paper with the darker tones. That is how we will obtain that beautiful, dramatic sky that I want to create your oops. You can see that the blue paint over there on the yellow, so I will go and gently lift it out. You can do this. Steps up process only when your paper is wet enough. Only when your paper is wet, you will be able to, you know, move around the colors and a softer looking sky can be achieved. Whenever you are clearing, your skies, always go with the, you know, softer strokes, because when you use to press down strokes on your paper, you might be lifting out the background color. So go over it very gently when you are going like with one color over the other, like you're. You can see how gently I am moving around the brush on the paper and I'm creating this must be soft looking clouds. So the more gentle you will be on your paper, the more softer looking clouds you will be able to create. Now, in order to add a little bit more of drama, I'm going ahead and adding those lilac on the right hand side colors, so just little strokes from the corner to the center. A broader at the corners and narrowing it down. So yeah, I'm done with the sky. So now it's time to let the mountain. So I will go with the dry brush technique for the mountain, for creating the dry brush strokes. I will, you know, not think I will go ahead and use my pillow glue. I'll use some intense pigment of the glue and I'm dabbing my brush on this piece of tissue paper so that the excess water is absorbed. Now you're at this side because we had just been to the sky. The idea was little bird, so the colors, you know, started spreading. So do not worry, we will go ahead with some darker tones in there and the rest of the other areas. See, we are getting this dry brush strokes. So when you have a textured paper, it is more easier for you to do this. Dry brush patterns and this dry brush patterns come out very beautifully when you have a textured paper and more prominently when you go for a rough green paper. This is how we are going to build our mountain and build those textures on the mountain, so this is a kind of continuous step and process so you can do this dry brush techniques until you feel satisfied with the mountain. So I think I'm going to stop here. I'm pretty happy with how the mountain is looking now. It's time to go ahead and create the dry brush strokes for the surrounding mountain ranges also. So I'll use the same technique. I'll use the same blue color and I'll go around and do this dry brush strokes by just dragging around the brush on the paper along those smaller hill of our mountains that we have created. And that's it, I will see you at the next part of the painting, where we will be starting out with the lake. 7. Class Project- Winter Sunset at Baikal at Lake Baikal Part 2: So let's begin with the lake, so I will be going wait on, wait, I will completely let my lake section with an even coat of water. So do this step very gently and thoroughly because you need this area to be wet for a longer period of time for in order to get those textures that we want with the help of duckling wrap. OK, so now that we are done, I will be starting out with layering the colors. I will be using my blue color and I will be going. But the longer slanted strokes these are almost like slanted horizontal strokes that I am creating towards the center of the paper. And this is almost, you know that along the side lines of the prospective, you know, the center perspective is my the Lake Mountain, which is standing tall over there. So with help of that, we are creating this structures are the strokes of the brush. So this is the lake which has got frozen and the ice has formed cracks accordingly. So the strokes that I'm creating right now, with the help of lighter and darker tones that will denote the cracks once we let it with darkling wrap. The colors that I'm using for the lake are basically our sunset sky colors, so you can see I'm not too much keen on you're going ahead with the yellow because I have already laid it with blues or one's yellow and blue makes. It will create an muddy green color, so I do not want that. So instead, I will go with my lilac and my pink shell. Shell pink color because these two colors really blend and complement well with my blue. So with that, I am going ahead with the leg. Now I'm adding some more of those darker tones because as the paper is drying out, the colors are starting to get lighter and lighter. So use very gentle, long strokes off your brush. And you know, when you are trying to create those light strokes, use the belly of the brush and drag the colors inward towards your paper. And when you are starting out and want to let it with darker strokes, go with the tip of your brush because that is where you have loaded the pigment. I am really satisfied with how my leg is looking right now, so it's time to bring in our magic. Ingredients are killing them. So I will now let our, you know, first I will cut my cling wrap and do some pieces. And based on the strokes that I have just layer layered on the people with the help of my brush. I will go and place the cling wrap according to those strokes, so that I get those textures and the cracks accordingly to the strokes that I have just layered, you know? So that would be giving the painting a much more beautiful look. So based on the placement of your cling wrap, also sometimes a landscape can take form, you know the texture that you want to achieve in your landscape. So, you know, these are all the small, small tips and tricks that you should learn and go ahead and try to implement it on your own whenever you are trying to bring something new or something interesting. Now, after placing this cling wrap, do not displace it and do not use any you know he'd gone or your hair dryer because that will not give you the desired look. Let it dry out naturally. Now, my beeper has dried out, so it's time to remove those cling wrap. Yes, see how beautiful geometric shapes we have got along with some baubles. So these are looking like those striped bubbles underneath the ice formation. Right now, it's time to bring in our palette knife into work, so I will go squeeze out some of that white gorge and I'll start layering my palette knife with this white squash and start creating the textures towards the horizon line because that's where the are means no components will be. So it will be like some broken ice shards over there. So I'm trying to create that effect. So I'm just going with the tip of my palette knife and he this is just like using your brush and creating on creating dry strokes, you know, but in palette, the shapes and tho textures that you get is really very different, and it's so very fun doing this way. So this is a most widely used technique if you have seen for most of the acrylic paint painters, also whenever they want to go and create textures on big canvases or doing textures on mountains or in part as they use, they take the help of this palette knife and create this textures. So I am here trying to mix and match techniques here and creating the same kind of effect and the outcome. So I'm really glad and satisfied with how this technique has worked for, ah, you know, Frozen Lake. Now, just like the same way, how we had created our ice cracks in our warm up practice project, I am going to similarly do the same way here too. So I am layering my gosh on the palate knife with the help of my fingertips and with the sides of the palate knife. I'm going and creating this long, horizontal straight lines. I am following the directions wherever you know, the textures have created those creases along the people, so I'm just going ahead and creating filling those cracks up. Keep doing the steps until you are satisfied with the crack formations, but always remember not to overdo this crags because the deck shows that you have guard with the help of Clean Grab that should also be visible underneath this crack, right? So that is the main objective. So, you know, at the point where you feel that you are overdoing it, please do stop and do not go overboard with this crack formations. Now I will be switching to my synthetic long brown brush, and I'll just go with very, you know, 10 lines connecting those strokes that we have just done using a palette knife. I will just go connect them and create some dry brush patterns on these cracks along the sides of the cracks. So that would look like, you know, the snowy deposits. And though cracks that are inside the snow that has gone gotten the texture on this lake now. So yes, now it's all about detailing this lake with the help of your brush. Use a combination of two no longer strokes and some dry strokes here and there. See, now I'm creating those Noé deposits here, but the tip of my brush daggers that I'm using is a very thick consistency. So make sure that your gua sha is not too watery or else you will end up in spoiling the look of the, you know, licked. So make sure that the washes of correct consistency are even if you are using your white watercolor paint. Make sure that it is up to consistency and not too watery. And I think that's it. More or less. We are almost done. I'll be going in and filling in all this white, snowy areas here and there. So this would be like floating shards of ice on this frozen lake. Are there bigger chunks or the bigger shards of ice which have separated based on the cracks? OK? So yes, it does. Your imagination and yard inference are how you are inferring the subjects. I think I am pretty much satisfied and I'll create some more textures here and there, and then I'll stop with that. My beeper has dried up thoroughly, and it's time to be loud and masking tapes from all the four sides. Now I'm really happy with how this everything played well together and how beautifully we have created our frozen legs. Now, if you like my style and though approach of teaching, please do leave a review for me for this class. This would help my glass to reach a wider audience. And also I would love to see your projects and creations and try out the other techniques and create something fun incorporating in your landscapes. So until then, wishing you guys a very happy holidays and a new year ahead.