Beginners ink and watercolour, Lake District landscape | Cally Lawson | Skillshare

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Beginners ink and watercolour, Lake District landscape

teacher avatar Cally Lawson, “Paint like no one is watching"

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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

10 Lessons (58m)
    • 1. Introduction

    • 2. Preparartion

    • 3. Pencil guidelines

    • 4. Ink drawing

    • 5. Painting the sky

    • 6. Painting the background

    • 7. Painting the midground

    • 8. Mixing foreground colours

    • 9. Painting the foreground

    • 10. Conclusion

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About This Class

In this class, you will be learning about drawing and painting a Lake District scene in ink and watercolour. We will talk through how to create distance in the painting using tone and colour. 

On completion of the class, you may upload your finished work for appraisal. 


Meet Your Teacher

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Cally Lawson

“Paint like no one is watching"


Hello, I'm Cally. I am an Artist situated in Cumbria, North West England on my family's dairy farm. I particularly enjoy teaching beginners drawing and painting, focusing on building confidence and emphasising the importance of relaxing and having fun whilst you paint. I have been teaching and demonstrating on YouTube for the last few years, where I cover a wide variety of media and subject matters. Here on Skillshare I will be aiming my classes solely on beginners, watercolour and pen & wash. Please feel free to contact me if you have any special requests for future classes.



You can see examples of my own work on my website and by following me on Instagram. I work mostly in mixed media, especially liking using ink dip pens and al... See full profile

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1. Introduction: Hello, I'm colored and here on Skillshare or teach ink and watercolor, drawing and painting, mostly for beginners and intermediate. This course is going to be looking at painting a Laker landscape from a photograph or told myself back in winter, we're going to be simplifying the image and we're going to be looking at creating distance by using both color and tone. How to make the distant mountains look further away and how to bring the foreground near tools. So we're going to break it down into sky background, midground from foreground, working our way forwards. As you go along, if you'd like to ask me any questions, please don't hesitate to get in touch with me. I'll be happy to answer any queries that you might have. You can contact me here through Skillshare or you can contact me on Instagram using their message or service. You might like to also follow me on Instagram for updates or more time up to here in the studio. So we'll get started now, I'll show you this is what you're going to be doing. Yours will probably turn up different to mine. You'll have a lot more time to get some more detail in your wall and things. And it's quite a complicated little drawing of a wall. The rest of it's quite simple, but you'll want to spend a bit of time on that wall. So let's get started with this lovely landscape. 2. Preparartion : Before you start, anything else, just take a while to get all your equipment together, anything that you're going to need to use so that you're not going home for it halfway through junior painting. And also make yourself comfortable. You want to be nice and comfortable and relaxed whilst you, during your work for this class, I'm using a loose piece of watercolor paper. This is a practice paper and it's a 140 pounds in weight and not pressed. So because it's a loose piece of paper and I don't want it to warp. I'm going to be taping it to my board. So I'll just move the board slightly down to show you what to do. So the main thing is, so this is masking tape. When you pop your masking tape on, I'll just move it a little bit so you can see that do it very, very lightly. Gets a nice straight line. If you can pop that on lightly, go very lightly with your finger on the paper. And then with a good Nail, press down firmly on the board so that it's more firmly stuck to the board. Then it is the paper. When you come to take that masking tape off when you're finished your painting, always pull it away from your painting. Never pull it this way. Can rip the paper and spoil your painting. And that's obviously going to be quite upsetting. So always move it that way when you take it off. And if you put it on, likely to begin with that's going to help with that. So nice and firm to the board. Light to the paper. Once you've got your paper prepared and you may not need to do this. You might have a powder, you might have republics gondola way around and this might not be necessary. But once you've got that prepared, take a while just to study your subject and what you're going to be painting and drawing. Now, the reason I chose this photograph and this photograph you will find in the reference section. This photograph is one I took myself sort of late winter, early spring, probably around February time. And I thought it was a good study on how to get some distance into your painting by using tone and color. So look how very lightly toned these distant hills are. There's not much saturation in the color there at all. And that helps push them away and gives you that feeling of distance and depth to your painting. So we're going to split into three parts really. We've got the background, which is these very distant hills amounts in shah say. And then we've got the midground where you see slightly more detail and color. So you're going to build up the saturation and the color a little bit in the mid ground. And then we've got the foreground with this very interesting wall. And that gives it a nice bit of movement the way the world's going down like this. And it gives us some nice detail to get it in stock into without drawing. We've got a little bit of help just behind the wall. So they sort of counts as four gram because it's actually immediately behind the wall. There. Not much color in the foreground really other than the grass, because it's late winter, these headers and things, There's no coloring those. So we're going to keep to a very limited color palette, which is good for ink and watercolor because it just puts out little emphasis on your drawing, which is watch income watercolor is all about. You can really see all those interesting lines of the wall and things and just put those light washes on, but build them up as you come forward. So as we get to the foreground, We need more saturation of color and more brighter colors. So blue recedes and yellow pops forward. So if we look at this, we can see this is a very pale blue color, blue gray. And in the foreground we've got some very yellowy grass. So we've got those yellows in the green there. So yellows pop forward and blues recede, and that's all going to help with that as well. So when you do in any landscape, if you think about, I always work coming forward from the background. This helps in a few ways, mostly because your arms not resting on what you've already done. And I find it a very natural way to work, but we all have different ways of working. So there's no right and wrong in the order that you do things. So the way I'm teaching is just my order. It doesn't mean that if you want to start here, that's wrong. So if I start at the back, I start with making my greens and migraines with lots more blue in the mix as I congratulate forward, are decreased that and have more yellow in the mix. So you can see you go from a very blue-green at the back to a very yellowy green or the front, if that makes sense, and that will give you that natural distance as well. So there's lots of ways that you can get distance into landscape painting. So we're going to really try and simplify this. And another thing about keeping these very distant is I don't think we'll put any pen on these distant ones. So those are just going to be done in paint. And then a little bit of pen on the midground and much more detail on the foreground. 3. Pencil guidelines: For the next step, we want to do a few pencil guidelines. Choose to roughly put things where they're going to be. You don't need to do lots of detailed drawing because you're going to be doing that with your pen. This is just a bit of a security to make sure you've got things where you want them to. Just take a little bit of time deciding on your composition and things like that. You might want to slightly alter things to make it a bit more interesting. If you look here in the foreground, you've got a little bit of a pathway there. And that's going to, if you can make more of that line to make it go towards the wall and then back down again. And then you start make a circle layer of your eye isn't just going out to the painting and things like that. You might want to just emphasize different things. You might want to move the header down a bit and have a bit more grass there, which again will give you that little bit extra color. So just wanted to things you might decide to change yourself. But you don't want to change it too much if you want to recognize those actual hills. So that's another thought. If you, if it is a certain area that you want to be recognizable, you do need to stick to the image that you've got, but we can use some artistic license where we want to. So when you do in your pencil guidelines, just be aware not to press too hard with your pencil. You want to be able to see your lines, but you want to be working quite lightly. Because if we do the paper, when we come to painted on it later on, the water goes on to pool so you don't want to damage your paper in any way. So be quite light and delicate with your pencil. So I think the easiest line to get inverse is the line of the wall. And I'm going to start about a bit more. How about, how about there somewhere halfway up? And again, you might want to decide you want less sky and more wall or vice-versa. So the disappears there because then you've got the grass there. So I'll put the ground there. With all my tutorials. I'm very much rushing through in order to just show you the basics and not bore you to tears with all watching me draw when you want to be getting on withdrawing yourself. So you will have more time than I have here to get as accurate as you come with the shape of that wall there. But I think that's about right. We've got that nice sweep up. And then across and then it's gone on a little better. And that's all we need to do with a pen. So we don't need to put each individual stoning because we can do that later on. There is just a bit of a stone here. And like I said, we're going to indicate that path that's coming down nicely. And I'm going to move this header slightly further down so that we can have a bit more interests with some grass and rocks may be in here. You've got a little bit of green showing there as well, and so some green at the bottom here. So we'll have a bit of a play with that later on. I've got that little bit of sort of header a hill behind the wall. You might want to leave that out. Again, that's entirely up to you. So look now where things join up. So we can see that this mid grounds that will call in this hill here, there's actually another little one in between, but it's very faint. And she probably don't want to do anything with that with your pencil or your pen. Can see it starts, where does that dip in the wall? So we've got a lovely curve here that would perhaps want to emphasize, and that's where this hill goes off. Perhaps this goes down a little bit more sharply than I've got. It goes off and then it comes up slightly. And I'll cross. And it's got an extra bit here. And going up. And then the background hill. And look at the heights as well. It doesn't come up higher than this point. So I've gone up too high then the dips a little. This comes down. Take your time with this wrong, the laziest slope, then I've got this going up too soon. So just talk, take time and get those a little bit more accurate than I've got them. And then once you're happy with this, will go on to doing some pen. But like I said, when you do your pen, don't do your pen on HCI background, hills. 4. Ink drawing: For the pen, I'm using a NOP size nought 0.5 black unit PIN fine liner. You can use whatever you've got available as long as it is waterproof and fade proof, That's the main thing, but most are. You'll see that written on the side of them when you buy them, look for either water resistance or water resistant or waterproof. Anything like that. Just tell you that you can use it with your watercolors. So like I said, I'm not going to put any pen on the background. The midground, I'm going to put some pen on. And then the foreground, I'm going to put a lot more detail in. So we're going to start here with this midground. And make white light and sketchy because it's distant. You don't want it to be heavy. And that's not a good reason for using Quest small pen actually. And this time you can have a bit more of a look at where all the undulations in the lambda here. I think there's probably a bet going down, or maybe it's just whether the valleys. And you can start and really look all those interesting shapes in the hill. Hill's a 3D objects. Not just 2D objects. They're not just going that way, the coming towards us and away from us. So we need to get some of that field as well. Lookups where some of these rocks and things are that are making the shadow shapes as well. And again, you're going to be taking plenty of time over this. And here I think we've got some kind of an overhang cliff face. And although you might end up putting more detail in the May because of the time. And don't go any heavier than this. You don't want thick, heavy black lines, broken lines, and much more interesting as well. And just a heavy thick straight line. So with your ink and wash drawings and paintings, tailor the way that you sketch and the size of pen you use, the, the, how dark it is, how heavy you make those lines by the pressure you put on with your hands. All of those things, tailor them to the subject that you're doing. You'll see I do a lot of my shadows just by a series of lines. You might not like that style. You might do your shadows slightly differently. That's absolutely fine. We all develop our own ways. Might like crosshatch chin. There's all sorts of ways. Now if we look in here, this is considerably darker. So lay a few lines over the top of each other and then that's just going to help, help build up the form. Because light and shade and getting the shadows in will make much more of a 3D, more lively painting with some depth. So these hills sort of coming this way and then it's obviously dramatically falling off. It's very steep here. And some of these are going to be emphasized with the paint and put in, it's dipping in here. So don't just do all your lines in one in the direction of the hill like this. We've got some coming down, we've got some common away. Get the different directions, directions in. Move your arm around. I'm actually stunned into work. When I'm doing my own work, I always stand. You can move your arm and you get more variety in your lines and that way it's more comfortable. But of course it's fine if you're sitting down. Okay. So I'll leave that little bit for now and we'll come on to the foreground where we need more detail. So as I said, this little bit here is part of the foreground. And it's actually made or Perth header and shrub, maybe some gauze. So obviously the lungs underneath there, but we want the lines indicating that it's growth, that is plants. But again, cross these lines and make them more interesting. Don't just have them all going in one direction. And we've got kind of tuffs. If you look closely and study the photograph, you've got toughs have had a going out in quite a fun shape, if you will. So get some of those shapes saying in general, it's going up the plants of form and the shape of the hill. And then the shadows in-between. Lots of shadow here. So you want more lines, more, it's dark against the wall. And when we put some of those stones in the world, we might want some extra bits of history bits as well. Don't have it to even different directions. And that's probably enough for that. And then we can move on to the wall. So these walls are very distinctive. And we've got two types of Stonewall, three types of stone really, you've got much bigger stones in the base. And then on the top, you've got the stones, the terrane gold. So your top stones around gold. And slightly different shape to some of these smaller infilling. Taiwan's here, it's had a bit of a catastrophe. It's starting to fall down a little bit. So what had been a dry stone wall is quite distinctive and you need to give that feel of that. And the thing is, because there's no mortar in between and it's dry stone wall. You get these really, really distinctive dark shadows. So we didn't want to put these shadows into heavy, but we can put these ones in really, really quite heavily. So if you look, you know, that this is a shadow up here, you know, it's very dark because of the shape of the hill and everything. But because it's further away, if you look now at the tone there compared to the tone in between some of these stones, this is almost black, this isn't. And that again helps us with that distance. So just be careful if you go in very dark here, you're not going to have the same effect with the darks here. So just think about that. So I'm not going to talk through the whole drawing of the wall other than to say just think about getting these ones lying down. Vary the size, vary the shapes. But the angles should be pretty similar all the way along. So I usually start by putting all the top stones in as if you build in the wall yourself, which I'm sure I haven't got the capabilities to do, but there you go. So get those top stones lying down, going all the way along. Don't obsess about copy in the photograph here with every single stone, you'll just absolutely drive yourself. Because if you do that, It's just get a feel of it and vary them and make them a little bit more around him. So here we've got some that are much closer together, stacked. And then you've got some slightly bigger ones going a little bit further into the wall. Slightly smaller, sharper ones with some pointy edges. So just very them to make it more interesting as you go along. And then once you've gone all the way down here, you're going to be missing a bit of wall because there's some rocks going up. Painting rocks is a bit like painting clouds. The person looking at your painting later on isn't going to know that you haven't got that rock, rock, the exact shape that it is. It's all about giving an impression. And as knowing that it is a rock, rather than knowing the tissues, It's not particular rock. Okay, so once you've done all your top stones and you've gone down, then start and put some of your smaller ones in. So here you've got some going this way and then you've got some bigger ones, very irregular shapes. And this is gonna take you awhile. And just look how will they go around the corner as well as they start to go down. And once you've done all that, then you can start and build out some of those shadows in-between with your pen. Go quiet. Dark. Flux said, the sun isn't getting in there. And that's all going to help with your drawing as well. So once you've finished the wall, then obviously think about putting in where the grass cones to when all these nice lines here and your path, There's another rock over here and then come down to your header. When you get to do in your head, in the foreground is some bits of grass. You want a little bit more detail and some longer pieces because obviously the grasses here is a lot longer, going to look a lot longer than the grasses here because it's a lot closer to us. So again, that's going to help with the distance. So I will go on and complete this now. And then I'll come back and talk about the painting. 5. Painting the sky: As you can probably tell, that took me quite a while to do because of all the detail in the wall. The main thing I would say about the wall is don't make it look like a brick wall. This is a dry stone wall. So you want it to be only even vary the shapes of the stones and vary the size of the stones and the angles in which the going. They're not all just put in flat. And it's not like doing a brick wall, whether all sorts of interlocking and completely straight and with sharp edges. So just get lots of variety in there. It's very easy when you're sat. Getting into a rhythm should make them all the same size and they start to be boring. Just concentrate on getting them all different. You'll see after I finish the drawing of the wall, I went over with the pen and add some crosshatching where it's slightly darker, where there's more shadow here where the wall was fallen down and then where it's going around the core and things. I've kept the foreground very loose. And how much detail you want to put in that is entirely up to you. You might want to put more in that. I wanted to get more detail for the wall. And obviously a lot more detail in this part of the painting. Then there's going to be in this lbs of the painting. And you can see that now the contrast that we've got between the detail here and the detail in the wall, we could have put more in, in here. In fact, we perhaps need to go a little bit darker in places there. Okay, so just let the dry for a few minutes and then erase those pencil guidelines there. But of course you need to leave these ones here. That's just a bit scruffy there, but yeah, so leave these guidelines for your background hills, but erase your foreground pencil lines. Okay, For the sky. Now, if we look at the sky, it's much, much lighter in tone than anything else on this photograph. In fact, what I'm going to do is convert this photograph into black and white. And I'll also put a reference for you of that so that you can look at the tones. Because when you're thinking about getting depth in Japan teens and getting that 3D fail and that feeling of distance, actually, tone is slightly more important than color. So look at the tonal values, and it's very easy now with smart phones and things like that, chose to quickly convert into black and white. And then you can see the tones. So if we convert this into the black and white, some of this is almost white. The sky is the palest thing on the photograph. And so we can do this very, very pale blue. It's more blue at this side than it is here, but I think we'll make that quite even. And we don't want a lot of detail and interest in the sky because the interest is in the foreground. So make that pale. And because it's paler than the, everything that's in front of it. We don't need to worry about going around this line. We can just let it come down and then we can paint over the top of it. Because obviously, watercolor is a transparent parents and we can build those layers. Ok. So we'll start by wetting this whole area and then we'll apply the color. So the color wants to be lots and lots of water. So watercolor is all about the amount of water that you use. And using the white of the paper to shine through those transparent layers of watercolor paint. So lots and lots of water in there. And then just a tiny touch of blue. So I'm going to use cerulean blue. You use what blues you've got available. And it's not really going to be showing too much color. That's perhaps a bit pale for some of the blues. I'm gonna put a little bit of cobalt in as well. And don't forget, this will dry a lot paler. Then it goes on. A mix of cobalt and surreal. It's actually quite a nice one for the skies. We get around here. Several billion on its own is a little bit too Mediterranean. Sometimes it's a very summary. Cool. Okay, So a little bit of cobalt as well, plenty of water, and it's going to be paler than that when it dries. A mate plenty job because you don't want your paper drying out halfway through pop in your style. For the purposes of film and I'm going to keep my board flat. You might want to slightly tilted forward that the way the water flows this way rather than going back home, routers keep it flat. So I've got a nice big flat brush. This is a warning or I think was it say 25 mil. So I'm going to wet the paper all the way across. And this should be done lots of pin. And go across those hills. Write down as far as the wall, halfway down the paper and make that nice and even and allow it just a few seconds to start sinking in. And how long you leave it to sink in really depends on how quickly it's drying and whether your studio or where you work in his warm, et cetera. So you just want it to go slightly dull and not too shiny. I think I've actually missed a little bit there. And again, it depends on the type of paper that you use in as well. Some will absorb more quickly than others. And how much water you apply and how much water your brush holds. Okay, so that's nice. This sink in him. So you want to load your brush with color. Go all the way across. And can you see how pale lattes and all the way across again? And that is only just going to be slightly life to them. Why by the time it drives? Because it's nice and white. We can even that out quite quickly. Don't go back and GS guy up here with the brush if it was starting to dry. Okay, and that is enough. Leave that now to completely dry before you do anything else. 6. Painting the background: While she sky is drying and don't be impatient without let it completely dry. You can be making up the colors for the next part, which is the mountains in the background. So you need to have slightly thicker mixes than the first mix because we need more tone in there, more saturation. So again, I'm going to go with a cobalt. I'm not just going to leave it blue, I'm going to make it a blue gray. And she may graze with the three-prime race. So I'm going to add some raw sienna to that. But not much. We want it to be more blue than any other color. We don't want the CNO overtaking the blue. The blue wants to be the dominant color in here. Some raw sienna and a little bit of alizarin crimson. And that makes a lovely blue-gray. And you're not going to need lots and lots of this because it's only a small area that we're painting. I'll just make it slightly more. Little bit of extra water. It's better to have too much than not enough and having to be remixing halfway through. So plenty of blue, a little bit of yellow, and a little bit of red, so that we've got a very blue gray. And a similar consistency. I'm going to make a mix starting with the yellow. We don't need as much of this. And if you just look in the base of those mountains, you can see where it's slightly lighter. A little bit of light further down. You don't actually have to do this. You could just do one uniform color of that first mix that we did and that would still work quite well. So we've got the same three colors here, but we've got much more yellow, not slightly thicker than the first one. Now that sky is completely dry, we can put the paint on. You will say that this is a lot lighter than it went on. We could actually have afforded to make it a little bit stronger in color, but that's absolutely fine. Like I said, on the originally is near to white, so we're just really taking the white of the paper almost there. But if you wanted, you could make it a little bit stronger in color. So I'm going to start with this lovely blue gray. And we've actually got two distinct mountains here. So we'll start with the third highest away. Just following those pencil lines and have a look back to you photograph, make sure you've got your pencil lines right. And don't worry about these pencil lines, they will robot once you've let everything dry. So once this paint is completely dry your belt and just gently erase those lines. So just gently go over the whole thing. Back ground fail. Structurally drying out quite quickly there could you see there that little line it was starting to develop because it was drying out. So that's something to watch for. If you're working where it's very hot, warm, you probably want to wet that mountain before you put your paint on like we did with this guy. Okay, so we've covered the whole thing. Now this next mix, because it's slightly thicker, we can just pop that in and it'll just give us a bit of a feel for some undulations in the hill, rather than it just being flat. But don't overdo this. Don't look at every little detail on the photograph. Just very, very gently pop that extra bit of coloring. I think we ought to leave that to dry before we do this bit here. But we can go on and do they spit this be a little bit here. I don't know if you can see there is kind of halfway between the mid ground and the background. So again, we'll do the same thing for this swarm around, sort of simplifying a bit there. I haven't got every little bump on the side of the hill. You might want to use a smaller brush. Actually, this was just the nearest up to 100 and picture to open perhaps is a little bit on the large side for doing this. The shapes. So it doesn't matter where they touch their long as it's not drying too quickly because it's the same strength of paint. And they'll just blend in nicely. You only get problems when you start introducing more water. Are much thinner mix of paint. So just you need a good tip on your brush to get in, in amongst all those rocks on the top of the wall there have a nice even covariant and again, we'll get that next cooler. And there isn't as much lighter as many larger areas in this one as there is in the other places. She on a little bit on the top of there. And that just gives a bit of variety. So what I'm gonna do with this little midground bit, well, not mid, mid ground is just filler and without yellow because it's a little bit lighter, not just gives us a feeling that there's some, some perhaps popping on that and we're might come over that when we do this as well. Okay, So you might be tempted now to go in there with more detail. Can you see there it's drain. You might be tempted to fiddle and don't, don't do what I'm doing now. Don't fiddle, let it all dry, let it sink into the paper, and then we'll come back and do the next stage. 7. Painting the midground: Whilst that was drying up, made up another color. And this is a nice big wash of raw sienna. I prefer raw sienna, yellow ocher, but you could use yellow ocher for this if you wanted to, or any yellow that you've got as long as you make it nice and watery and thin. And this is going to go over all of this area so you don't want it too thick, it's going to be behind knew the colors are nice, thin, watery mix of a nice yellow. So also whilst I was waiting for that to dry, I change my water so it's important to keep changing your water. So when you put in water on here against the other colors, don't have it's sopping wet and don't be scrubbing at the pay per either. An upset in the closest are already there. Just do it nice and gently. Have a light touch. So go over all foregrounds that includes a bit of header there. Along the wall. Again, you take your time getting the water in the right places. They're not going onto those background hills. And allow this to sink into the paper a little bit so that it's just nice and damp. Okay, so once all these areas dump, you then want to apply your color. So load your brush up really nicely, get that nice and full. And follow those lines that we drew earlier. And then lower down, you can just go right over your drawing. Nice big sweeping movements. As I said earlier, I'm standing to do this. So again, that makes it easier to move my arm. And having a brush that holds plenty of paint makes this a lot easier. And having to keep refilling your brush. Once you've done that, again, leave it to dry completely. This is probably a good time to go away and have some lunch on find another job to do. Or it could be mixing up your colors ready for the next section. So have a look at the colors that you see there and make some nice browns and grays up. But don't work in this whilst it's wet, leave it to completely dry. So the next section that we're doing, which is the midground and that made hill, I've made two more colors. This one is exactly the same colors as we had in the background, hills up. But you'll remember that we use much more blue than the other two colors. In that case, this is the other way around. So we've used less blue, more yellow, or more red, and it makes it much more of a brown or gray going towards the green side. I've also mixed up some of the yellow, the raw sienna with some Alizarin to make a peachy color, which you can also see. And I think that's perhaps a strong reflecting on the rocks there. That little bit of page I can see, you might not see those close. We'll see color slightly differently. That's something that's very personal to you. So you use the colors that you're seeing. But keep it simple. We want to keep that midground very simple to not make it jump forward into the foreground. Now that that's completely dry, we can go onto the next stage and paint this midground. So again, going to very lightly wet the whole thing. Have a nice tip on your brush to get into those shapes that we painted earlier. When you're painting on top of paint, you don't want to be lifting up from below the first layer that you've done, such as do this very, very lightly, have a gentle touch, it not scrubbing at the paper, you just dropping the paint on and steer in it around. So not paint water. Again, having a good tip on your brush gets you to go in between those rocks there and don't worry too much if you go over some of those because some of those darker and tone anyway. And so you probably going to be painting over again. Okay, now I'm going to go to a smaller brush now and use this nice mix that we've made over this lovely gray. And I'm just dropping it into that water that we've just applied because we don't need it absolutely everywhere. Can you see we've got lots of lighter colors coming through. And the nice thing about this cerulean that we've got him with the alizarin in this gray mix. So I've got this cerulean and the cobalt in there is the kind of separate slightly. And you'll see that here. And it actually gives a nice rid of texture to the painting. So reminds us that aim to those mid, mid ground. And as you come forward you can see how it's sort of a lighter down this area than it is further back. So you want the darkest bits to be over here. So you can, oops, can you say I've just gone into the sky there. That's with me getting carried away with flicking around but just dropped some extra color in Wave, got those shadows. Just leave it to sink into. This is quite a flaky brush. It's travel or lift that out in a minute. Can you see there it's flicked up. Okay, so clean your brush out and get that nice peachy color and just look at where you can see that. So I can see it down here. Just let it mix in with the other colors that you've got that you kind of not painting as such. If you think of it as dropping the colors in and allowing the water coolers to move around that paper, to flow into the other colors, and to flow into that water that you put there. Let it do its own thing that's passed to the beauty of watercolor is you leave it to do its own thing and you come out with these really nice textures and shapes that you weren't anticipating. So leave that completely dry again. And whilst that's drying, I'll get those little maps out. So this guy was nice and dry so they should lift out quite nicely. So when I'm lifting things out, get a piece of tissue, and get a synthetic brush. I find it's best for this and just have it done. Don't have it dripping with water. Have it damp. Just very gently tes and can you see that's come out? Re-wet my brush. And that was my fault for being clumsy, but at least I can show you how easy it is. Remove those. And the main tip is to have a dump brush, not too wet brush, don't be going pop in lots of water in there. What I could have done it just immediately after I did it was just to get the tissue and lift it off flatMap. So you can hardly tell that that's happened now. So let's leave that to dry and then we'll come on to the foreground. 8. Mixing foreground colours: Whilst that midground is drying, we need to make the colors for the foreground. Now, as I said earlier, this is a picture taken in winter and those have as a very brown, the completely dry and there's not a lot of color in them. But we could, if we wanted, warn them, move a little bit to make it a bit more interesting. We've already got this Alizarin that's in the midground there. So you might want to make your Brown's a little bit on the warmer side, rather than having too much blue in them, put a little bit more of the alizarin into warm those up, but they're essentially brown or those Heather's, particularly a little bit above the wall. So what I'm going to do is use this here because you don't want to waste you paint. So that was the gray that we've got there that we used further back. Just a bit more water in that. And we're going to add some more of the yellow, some more of the Alizarin to make a brown color. Some of the blue. So with the three primaries, you can make browns and grays, but just by altering the consciousness of H1, you can make very different colors. So that's a nice warm brown for those headers and branches and things. And actually there isn't much difference between that and the wall. Some areas of the wall, a much lighter. You might want to leave. Some areas as they are, these little flecks of white. You might want to do some lifting out of UCLA with those. Let's make again a whitish brown color for some of those stones. This time with more yellow and less red. It's quite a green and brown. I think there's lots of perhaps bits of like and, and things on and then limestone I'm going to use, we've already used this rebellion. So let's use that again. So really makes quite a nice gray for limestones again with the Alizarin and the raw sienna. So just take your time with these, gets a bit of practice paper and have a go at checking your colors on there. Always use a white palettes that you call us show up nicely. So lots of browns and grays. And then like I said, we need some brighter green for the grass in the foreground. So I'm going to actually use the sap green here. And I'm going to add some yellow to that. And I'm going to use some cadmium. So this is going to be quite bright. But it is if you look at the photograph which is quite bright, and it's going to make it a little bit different to the background and really pop forward. Now, I want to just put a tiny touch of alizarin in that red zone, the opposite side to green on the color wheel. And you will find that with these sharp boat greens just pop in a little bit of red in there, makes a more natural color. Okay, so we can make some markers up later on. In fact, I'm just gonna make a little bit more gray, but quite a watery one. For some of these rocks in the foreground, which have hard to go any coloring at all, really. So more water. Okay, but like say we can make more of these as we go along with the foreground. And we don't want to over-complicate it with lots and lots of different colors. 9. Painting the foreground: As you can see, it's dried now quite nicely. That's all completely dry. And the coolers there of kind of mingled into each other and faded a lot. And it gives us that little bit of distance. But still, because the colors are much warmer than these, it looks for nearer to us than the fog hills. So again, with the smaller brush, I'm just going to wet this little area of this little bit of a hill with some old header and bits on it. And then pop in some of that first brownie that we made up to us then. And he won't this really to be stronger than they sit at the moment. It's perhaps not looking as strong as it could pay. I'll pop some more of the other browns in that we're made up as well so that it can be sort of mixing on the paper, getting the extra pigment and we'll make it a bit stronger than this here. And some of that, a little bit of that red that was left from before as well. That those colors just mingle around in that dam Perrier. And that's enough for that you don't want to be messing about with it. It's quite plain area. And then we're going to wet the wall. So I'm going to get a bigger brush again with some nice clean water. And you can go along where it doesn't match with that color flows down. Now we're not going to be painting every single stone if you wanted to your coat. But I think that would be quite tedious. And the whole idea of income wash really is that you do this lovely detailed drawing. And you just have a bit from popping on the colors on top of that to give us an impression of what's going on. I really don't think it's necessary to get a tiny way brush and start doing every single stone. So just wet the role itself and nothing else. That's a bit too wet. Let's just take a bit of that out. Okay. And the reason you wet it first released so that you cause a much softer and they sort of sink into the paper mixed together. If you wanted to do it wet on dry, you could do. But it'd be a much more sort of stylized painting than this. So we're gonna go with that yellowy brown, the one with more yellow when then the red on the gray. And have some tissue to hand. Because you might want to just lift some color out in places once we put it all on, you might want to take some of this core out to make some patches of light on those stones? Not she could just leave the tops of those there because as if the caption, some sunshine. Go around these older rocks and that's enough of that color. And then we'll get the one that was slightly bluer. More of a limestone in color and tap dots in trauma breccia established in let these colors mix on the paper without those heavier shadows are you remember we talked earlier about the shadows caused by the way that the walls moving down the hill layer and where this whole, whole is, where it's fallen down. And I've got to flip it again. Can you see it's this brush? It's very flaky, or maybe it's just me. So this time whilst it's still very wet, I will just lift it out. Can you see how easily that lives? So because this piece of paper here is very dry, so it just comes off quite nicely. But try and avoid doing it in the first place. Don't miss clumsy as men. Okay, so I'm gonna put some of this other color we made, which was alive more of a lime color that most cerulean. And at this point now actually, and I'll just show you that Martin. And if you want to, because we're coming into the foreground and we won't think a coolers and we want more pigment. You could just took sermon and allow them to mix. And if they're not mixing and excuse me, sorry my voice my faded off their owners turning around with a damp brush, just tease the main and let them all flow together. And this is with a damp brush, not a wet brush. Remember we're not introducing more water onto the paper. So just keep mixing a variety of grays and browns and letting them all mixed together. Now, this is where you need to work quickly. Whilst that's nice. Wet, conservative tissue. Twist the NF making little round shape if you will. And then on odd stones, just lift a bit of color out. So it looks like either you've got the light catching all we've got some slightly different colored stones. I've got lichen on the edge, which is making more of a cooler. But you must do this while it's wet, otherwise it won't lift out. And that just makes it a bit more interesting as well. If you want it to introduce some like in ecological, perhaps a bit of yellow in straight from the pan. And again, this needs to be done whilst it's wet, otherwise it won't mix into the other colors. Can you say that just looks like maybe there's a touch of y can also turn on the side of those stones there. So when you're working wet in wet, as long as you put in a thicker layer on top, it will work. Okay? And then we'll leave that to dry and start thinking about the foreground here. So again, I'm going to wet the whole thing and keep it nice and loose. So we're not doing detail with the paints. We're not spending hours. Drawing with the paintbrush, we're popping color on top of what's already there, which is a nice firm drawing underneath that we did initially with the ink pen. And just dropping in these lovely colors together by using the same colors throughout. So although we've got lots of different looks like we've got lots of different colors. Most of them are majors from those three primary colors. It makes a unified painting. It makes it all hang together harmoniously and not look disjointed. So the only real new color that we're introducing now, and I'll use this nice big brush is the grass. So if we just look where the grass was and I'm putting more grass on. Dan, you can see in the picture, just because I think it's going to help the composition to have a bit more of that bright color coming forward. So just avoid going right onto that row there, but not too much paint and it doesn't matter if the green goes onto the rock. It could be a mouse anyway. Not really painting, like I said, this is nice and wet so we'll just pop into coloring rather than painting with it. There will be a bit between these rocks here and you can see some green down here, like so we're making that line there. And that's where the path was coming up and it just makes that nice shape gone all the way across the painting. Okay, so we've popped, That's it. And then let's put that color in that we used for these hetero bits up here on the ones here. Again, I'm not really hangs in a search, just popping in color. So now you're working very quickly because you don't want your work to dry out too much. Well, these colors to all merge. And we need to think about some rock colors as well. Don't let us look at the blue-gray and we did say that these were quite light. So you perhaps don't actually want much color on these at all. It's one of the lightest areas of the painting actually is where the rocks are. And if you find your colors are moving too much, again, you can just lift them out with a bit of tissue. And the thing about lifting out where the tissue is, once that piece of paper there is dry, it doesn't then continue to spread in that direction. So just lift in little bits out of those rocks. And maybe some across say, graphs as well as if we've got more rocks perhaps showing little bit here. Nice light areas in the foreground. Then out some of the extra grays, some of that blue or gray, we've got some darker areas, some shadows in the foreground here, underneath these bits of Heather, et cetera. When it's very impressionistic. And we've got some lighter areas as well where they, grasses are going up. Now some of my brushes have actually got this end on them, which you can use as a shaper. If you haven't got them, you can buy shapers or you could use something like the edge of a credit card. Something that's a rigid plastic. And what you can do is make some of these shapes in the paint while it's wet. Not just moves the paint and lifts it. And again makes a bit more texture and interest that she's quite wet, so it's not lifting it off as much as it may do, but it gives you extra texture and interests there. So that's something you could have a bit of a practice with on another piece of paper as well. If you wanted to have a goal that if you've not done it before. Okay, so just looking at it now, I think the one last thing I want to do is put an extra little chink of light in with a nice clean brush. I'm gonna get some more of that cadmium yellow. And I'm going to pop it where I can see the light here, where the lightest areas, light shining down here. And then I'm going to emphasize that line there using that color to help with that composition around there. Bringing that light down. And that looks very, very bright at the moment, but it will sink in and actually it is very bright. It's where the sunshine in on that grass and it is bright and that's really bring in this foreground towards those and pushing these hills further back. If anything, if I want to criticize my own work now, it really needs to go darker in these areas. If when you finish, once it's all dry, if you want to go back on with the pen, you can do so here where you'd want a deeper shadow. If you look at the photograph, you can see we need some deeper shadows in the bottom of these headers, because obviously the light's not penetrating through to those. You can get a pen and go on again if you want to. So don't be frightened to do in life, you need to make any extra corrections with the append. I'll just leave this but I'll look forward to seeing your finished pace. So let this dry and then come back and reassess and see if there's any way anything that you think needs altering are adding to. 10. Conclusion: Now that you've completed your paint and I'd like to thank you very much for taking this course. And I really look forward to seeing some of your work. It be great if you could upload it both for me to give you some feedback, but also for other people to see. It's great to share your work together. And even though we're all working from the same photograph, It's amazing how will all get slightly different paint pictures at the end of it. If at this point I was going to criticize my own work, there are one or two things I would change. I wouldn't bet the colors in the foreground a little bit darker and stronger, and perhaps spend a little bit more time on the drawing itself. However, I do think it's made quite a pleasing little picture of this lovely LED district scene. Enjoy your paint and enjoy, and I'll be back again with the assumed with another Skillshare course. If you would like to take anymore of my Skillshare courses, you better find the links here. Otherwise they're all put together in one place on our website for you to find a sewing. And I'll look forward to seeing you all again soon. Bye Bye for now.