Barn And Flower Field Landscape in Watercolor | Bianca Rayala | Skillshare

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Barn And Flower Field Landscape in Watercolor

teacher avatar Bianca Rayala, Watercolor Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (47m)
    • 1. About The Class

    • 2. Materials

    • 3. Understanding The Subject

    • 4. Pencil Sketch

    • 5. First Wash Painting The Sky And Field

    • 6. Second Wash Painting The Field

    • 7. Painting the Barn

    • 8. Final Details

    • 9. Class Summary

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About This Class


Welcome to my Old barn and Flower field Watercolor Class.

In this class, I will show you how to paint this beautiful landscape in watercolor. In the first section of our class, ill talk about understanding your subject and planning your composition. I will share too the materials that you will need and the techniques that you can apply to paint a loose watercolor landscape.

I will show you step by step how to simplify sketching, how to paint the soft blue sky which is essential to create the mood and atmosphere of your painting. I will talk about the different color mixtures that we can create using a few number of pigments to help us paint the flower field with depth and how to make the old barn stand out by adding textures.

I will lead you from painting the base wash to enhancing the foreground and finalizing the painting by adding details and highlights.

I hope you continue watching and enjoy the class! <3

- Bianca

Meet Your Teacher

Teacher Profile Image

Bianca Rayala

Watercolor Artist


Hi friends! I'm Bianca and I'm a watercolor artist. My purpose is to inspire people to discover and pursue their creative passion. See full profile

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1. About The Class: Hello everyone. Welcome to my old barn and flower field watercolor glass. My name is Bianca Crayola. I'm a watercolour artists from the Philippines. I loved painting and I'm so passionate about sharing my love for water colors through teaching. In this class, I will show you how to feign this beautiful landscape in water color. In the first section of our class, I'll talk about understanding your subject and planning your composition. I will share also the materials that you will need and the techniques that you can apply to paint a loose watercolor landscape. I will show you step-by-step how to simplify sketching how the pain, the soft blue skies, which is essential to create the mood and atmosphere of your painting. And I will also talk about the different colour mixtures that we can create using a few number of pigments to help us find the flower field with depth and to make the old barn stand out. Through adding textures, I will lead you from painting the base wash to enhancing the foreground and finalizing the painting by adding details and highlights. I hope we continue watching and enjoy the class. 2. Materials: The greatest landscape, the basic materials that we will be needing refers to watercolour paper. This is 300 years and meat off 100% cotton, nexus watercolor beans. For our project, I will only use just a few colors for my BATNA. Yellow ochre, burn China. Neutral theme. I'm a decent genuine Horizon Blue. And this one is indigo and then olive green. I'll be mixing these scholars together at the grade, the shades where this guy, the field and even the barn in 3D scene the picture will be using also white Bosch were highlights. And for the brush, I'll use the flat brush in rewetting that paper. If you don't have one, you can use a mock brush. As an alternative. I'll mainly use ROM brushes like this one, the silver, black gilded, and also the golden natural. In Lean colors. I will also use an angled brush like this one and then liner brush for lifting colors and for painting the thetas on the field. Repair also pencil, eraser, a mixing palette, cup of water, and some tissue paper. You can download the reference photo from the resource sexual and for your guide in sketching. 3. Understanding The Subject: Before we store it, let's understand first that picture that will be themed theme. Whenever we beam, it is important to know the mood that we want the portray. In art image. We can feel that it is a bright and sunny day. So here there's an old born situated in the middle of a wildflower field. So we imagine ourselves standing by the field and looking towards the old one. And let's do a quick sketch for the composition. So this is your workspace. We divide their paper in the three. We will allot a largest fees for the bright sky. So we position on the ground somewhere here in the room. Let's just do a rough guide for the 3s. One decide. And then we will position the bargain right next to that, Denise. I will show you later on how to easily sketch the Warren. On the next video. You want the Old Barn theory, the main focus in our being. We will also put some clouds up hearing this guy, but we don't have to sketch it on our actual working paper. Now we are good to start. 4. Pencil Sketch: Let's start with our pencil sketch. Identified the lower third of your paper as your bases of the ground. I'm doing a rough sketch here of a slope as my guide for the few. Next, let's draw a rough guide for the 3s here on the right. And then we can proceed and drawing the barn. As you can notice, I tried to copy the angle of the sides of the roof to get the right perspective based on the photograph. These technique is an easy and quick way to draw without worrying. If you get the correct angles and perspective of the object. So we're using your pencil, copy the angle of each side of the roof from the photograph, and then transfer it to your working paper. I will also love me. On my sketch. I will end the watercolor textures for me. This is our pencil sketch. 5. First Wash Painting The Sky And Field: Before we begin being erased, exists in unnecessary pencil marks on your sketch. So our first step is to read the entire paper with clean water so we can create a self transition of colors. New seeing my flat brush, I agree with the enthalpy, making sure that nothing is left DRY. Let the vapor absorbed the water first before being things so the faint would not spread uncontrollably. While we, we can prepare the color for this guy. I'm mixing Horizon Blue and a bit of Amazonas genuine, degrade the right blue sky. You can best color mixture on the separate deeper. So you can have your desired don't. When the papers ready. Belt your board a slight angle. And then this guy's starting on top and leaving some white spots for delighted bark of the clouds. I'm just following the shape that they see under reference photo. That's why it's important to have the reference photo right next to you. So you can be guided. In painting. This guy. Notice that the paint doesn't move uncontrollably. It still creates soft edges as a lead on the colors. And that's because I applied the pigment when the paper is not, DO IT, Lord, do drive. In banking, it's important to know the right timing and the temperature of your paper as different temperature would affect the movement of pigment on your paper. Now, we can see little by little and illusion of clouds on the right sky. I will add a little darker the wounds on some areas to show Shadow. The upper part of this darker perspective in this guy, a clean right? The issue I will leave the color and define the shapes of the clouds issue when lifting callers to avoid the white areas on this guy. Next, I will paint a light wash off yellow ochre here the horizon. Where are warm like I was often a blend, a warm yellow, the light new. To avoid a green mix on our sky. Let's add some contrasts on the clouds by building up the shadows. Always remember to follow what you've seen the reference photo so you can apply the correct goals. So when you're done with the clouds, let's proceed on painting the field. Since the field fragment is still moist, I won't be pre wetting it anymore. I create a mix of yellow ochre and a bit of olive green. For my bass wash of the field. I will also add a little bit of Horizon View. Seems a US Horizon Blue Sky. They just lead Belinda with both strokes. Next. Indigo and olive green. To build up the field. Reference photo, we see a mix of yellow green gardens means. In the field. We will try to depict what we see when we meant theme, the looseness of our beam thing. For the foreground, I use branch and mix with the other colors are use for the field. Remembered the rule of perspective that the forgone should always have the darkness stolen. In this way. You avoid making our picture flat and we put that in our picture. And just paint with bold strokes and dark on the foreground even more. But doesn't want to work with a wet on this bright the colors stage. Avoid hard edges in our field. To keep our painting hormone use. Maximize the limited valid that we have by mixing pigments that we have in our file. They also sprinkle some on there on the field for a nice effect. When the paper has absorbed that pigment. Liner brush color show an impression of grass. Here at the foreground. Scenes were wanted. There are doors. The born. This stroke for the grass should be there in the barn. Be careful not to overdo much strands or please don't much strokes for the grass. So that the old barn would still be the meaningful in our being. Just some wars platters. Well, myfile using greens, yellows. You may also covered this guy porridge with obtain the shoot to protect this guy from having splat. 6. Second Wash Painting The Field: When the film Frank vent is almost them, we can lift again some more beam to show grasp leads. You can do this using a synthetic brush. I will be using an angled brush and also a liner brush. When lifting callers always clean your brush every after listing, right? Using the same brush. I start first with a light yellow green color to show that this top of the tree being lengthened by discipline. And then thought bit with another name with a darker color. As you can see, I laid the belly of the plus on the paper to create Raph strokes with a semi dried paint. I will also dark in this book or to show shadows. And the other technique that I will share is scratching the paper. I scratch song boards here under the threes to show an illusion of three theorems. You can use your finger or a card to do these techniques. No, we don't want the 3's do look separate that from the field. So the blended threes Widefield, I will use my flat brush and drag the color from the base of the three. Going down. The flat brush should not be width. I'm going back to my field to add some more colorful splat. Authors will make it more interesting and vibrant. Always remember that, want their color, then still fade in color when it dries out. I will spend their Brinch, Anna, Merkel, and also whitewash to show impression of different flowers in the field. I will make my color mixture of creamy. So this matters will be bullied and vibrant. Instead of being transparent. Splat theory is a wonderful technique to add details that are loose and very natural. Scenes. We don't have control over the splat, there's death we make. What we can do is to position the brush of the correct angle so that the direction of this platters would be appropriate on the picture. Now I'm mixing my white squash in yellow ochre to create an opaque yellow. In this way, when they splat, they're yellow pigment. It will stand out even more since it is not opaque because of though whitewash. If you want Bigger's platters, you use a bigger brush. If you want signers, beta's, just use a finer brush. You can do a display during thickening bullet when the paper is still with the create soft textures in the field. And also you can do this when the paper has already the great more detail in vibrant details. 7. Painting the Barn: Maybe breeze completely dry, and this is the right time to paint the barn. I will use yellow ochre as my base speed for the barn. To dark ended going a little bit. You can add a hint of Brinch, Anna, and purple. I will follow the tonal value of the borne on the reference photo. So that object would not look flat until I can show the right shadow and light in the object. Well, the bank decides to bargain how we'll use burned with a bit of Amadeus. Genuine lime mixture is a bit thick, brush is a bit dry. I will blend the barn with the field using my flat brush. This is the same technique that I did with the trees. Again, the flat brush should be doubt. It shouldn't be wet. Now let's add more contrast between the barn and diffuse. So add dark color. On this side even more. After this, let's repeat the same process of blending the barn with the field using the flat brush. Our focus is the main, the main focal point in the picture. That's why we put additional contrast. Well, I'm adding strokes to show those with a dark brown color. All of the other ones, the layer is drag. Since the layer is still mois. I can add some textures that will naturally blend in rice. And you can also use your fingers on nerve first and then add some more dark dawns here. The shadow part of the piece. 8. Final Details: As we finalize the painting, let's add some more contrast on the trees and here on the barn. This will help us make the barn and this support the element which is the 3s, to stand out in our picture. I am creating a dark green mix using indigo and olive green. I've been the bass part of this group of threes here. And then again, I will scratch the paper to show on a notion of branches and throngs in-between these greens. As you add another near. Won't forget this much to do blended with the base near. Next, add a few more grass here in the foreground. And make a very thin strokes using a dark brown color. And I will also add slept. Here, I'm seeing my liner brush. I'm putting just very few strokes here on this side. And this strokes are leaving boards, the old barn. And this will serve as an element that to a our viewers, to our focal point. Using a whitewash. Some of it and my fields to create white flowers. Go on thought. Okay. When we're done for the last step, foot on some details on the barn. First as third through the shadow under the roof. So I'm mixing a dark brown color using my neutral salient and burnt Jana, though being the shadow right under the roof. This will give the barn more dementia. So using the same color, I'll also add some lines in the dues on the wall. For added interests. My brush is semi dry and I always robbed a bean after applying it to have a nice blending on layers. Next, draw the windows, the roof, and also add the shadows too. I'm on my dark brown mixture. Shadow. I'm using again my whitewash to add some tiny details that will also serve as highlights on newborn. And also some parts of Greece. I actually mix these white wash with a little bit of yellow ochre. So it won't be right when they apply it on a dark old barn. So at this point, I'm also checking my work as a whole. And they tried to figure out if there are areas that need to be in heads. If you feel the need to add some words, platters, feel free to do so and just add a darker splatter off the same colors that you use in the field. I think it is also a good idea to add some birds in the sky so that there will be dynamics into picture. Be careful though glaze the birds with the appropriate size. Not too big, so that it would be realistic and it would match the image. So once you're painting is done and completely dry, carefully, take off DO masking tape to get a clean. And three is border around you're being theme. Don't forget to sign your work and share it with me so I can help you in your project. Referred to for the important things that we need to remember as we sell more ice, this landscape glass. 9. Class Summary: The review us with important things we need through a member in painting and old barn and flower field landscape like this one. We need to remember to paint the sky using wet on wet technique. This is important to create a nice soft blend in disguise. Degraded clouds relieve on bientot spaces in this guy throws at them dark clouds. And we also use the tissue paper to lifted pigment from the beeper. You also made the field by blending into colors on the wet surface. Always remember the ruling perspective, that the foreground should always have the darkest stone. We also add the base texture of the field. Whether layer is still with using sputtering technique and lifting technique. For the barn in the trees, we refer to the reference photo to identify where is the light coming from so we can please the shadow working. The most important thing in painting is to enjoy the process and to keep on creating. The learn, re-learn in unlearned thinks. It's fun and exciting to discover new things as we mix and blend colors. An experiment on different techniques to bring life to the picture. If you wish to learn more about watercolor painting, I invite you to join my other glasses on painting, seascape, steel, live, flower subjects and more. See you there.