How to Paint Watercolor Landscapes | Visual Mind | Skillshare

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How to Paint Watercolor Landscapes

teacher avatar Visual Mind, Artist

Watch this class and thousands more

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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

5 Lessons (54m)
    • 1. Intro

    • 2. Supplies and General Thoughts

    • 3. Starting with Tiny Landscapes

    • 4. Moving on to a Bigger Scale

    • 5. Final Landscape Painting

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About This Class

In this course I show you everything I know about painting watercolor landscapes. If you have any questions just lest me know.

Meet Your Teacher

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Visual Mind



Hello there! I'm Melanie.

I'm an Artist and teacher on Youtube and have a big passion for Sketchbooks and Art Journals. I mostly work with watercolor and gouache and create lots of tutorials for these mediums.

I live in Austria, a small beautiful country in Europe. We speak German - in case you were wondering where my accent came from.

I follow my curiosity wherever it leads me. My mission is to inspire others to do the same. Get those paint brushes and start creating. Enjoy every minute of it because life is way too short to do otherwise.


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Related Skills

Fine Art Creative

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1. Intro: Hello there. Since you're here, I guess you're interested in watercolor landscapes and want to learn how to paint, though we're starting off by doing these little ones, and then we're going to move on to a bit bigger pieces, and in the end, we're going to pay this one. So I'm going to show you my whole process and share some tips and tricks and some advice with you, and you can learn how to paint your own landscapes. I really want to encourage you to paint your own stuff, but you can follow along my tutorials. Here you can use them as inspiration are as a step by step guide. It's completely up to you. I really hope that you will enjoy this class and learn things from it. If you have any questions, just let me know and let me know what kind of courses you would like to see in the future. So I wish you a lot of fun with this course on. Let's go 2. Supplies and General Thoughts: hater and thanks for being here. So in the following clause, sessions were going to do different kinds of landscapes. I'm going to start showing you these tiny wants and den. We're going to do a little bit bigger ones, and eventually we will end up with this one. So those are kind off sped up a little bit just so that the class won't lost forever. And especially the first ones are pretty sped up those air more for inspiration. And the last one isn't as sped off. But if you want of paint along and it it's just a little bit too fast for you, which is expected because it sped up. You can always pause the video and paint along. So no pressure in doing this super super fast, and you can also simplify everything. You don't have to exactly follow along as I do. I'm just sharing my tips with you, and so don't put any pressure on yourself. Learn as you go. Just enjoy it and have fun. So as for the supplies that I'm using, I have different kinds of water colors. I used these ones as well as some of those This is filled with a mixture off prima confections, watercolors as well as Windsor and Newton, Windsor and Newton Cotman water colors. And then we here we have some Daniel Smith pains. You don't have to use professional watercolors if you have some great if you don't no problem whatsoever. Just make sure that you using watercolor paper because you won't have a lot of fun with printer paper, but with watercolor paper. You should be fine. It's just for fun and then for the brushes. This is my absolute favorite brush. It's quite expensive, and you don't have to get the exact same brush. It's the DaVinci Kozani airbrushed, and it's a vegan brush that can make quite big strokes as well as tiny little ones. But I also have super cheap brushes, and those are quite okay as well, so you can find cheap brushes as well. Just look at your stores that you have nearby. If you have any coupons, or if you want to buy them in a set, whatever art supplies you have, it's fine. Just go along, have fun and enjoy the process. So let's go 3. Starting with Tiny Landscapes: so we are starting off with some what she taped on. I made those kind of grid so that I can make a few tiny little paintings here, and I'm starting off with a very light wash of colors. Depth means that I used some water color and a lot of water, and for the 1st 2 I just spread it out quite evenly. And for the 3rd 1 I created those kind of dots for the sky background that you can see appear later. So depending on the picture that you're painting, you want to make the first layer. Whatever you wanted to be. Just remember to go in layers and to go from light to dark. You can always go darker, and it's hard to go a lighter with water colors. So with washer acrylics, this would be a whole nother topic, but with watercolors re trying to go from light to dark. Er, so I'm basically I'm going from right to left here because I'm left handed, and so the water has a chance to dry throughout the paintings. If your right hand that I recommend going from left to right so that you don't put your hand into the wet painting and so that everything has the chance to dry within all of those . You don't have to wait as long. So this is the kind of trick that I used here, and you can see what I'm doing here. I'm just using a lot off water and very little pain. I'm doing the wet on wet technique, which means that I'm laying down a lot of water and then letting the colors run into each other. And here I'm using the wedding dry technique. You can see the difference here. You can see those harsher edges, whereas when the when when the first layer is wet, everything runs into each other. But when the first layer is dry, you can see that you get those edges, and at this point, you really calm. Tell what I'm doing, but you will see those landscapes appear later on. You can decide whether you want to follow. Those exact ones are you can make your own tiny little landscapes. Just look for reference pictures. I think that I found mine on Peck sells for this one, and you can if you don't want to publish it like I'm doing here? You can use all kinds of reference pictures, or you can always use your own pictures, which would be super fun if you have some cool memories. If you visited some cool places, then go ahead and use your own pictures because it's a lot of fun, too. Paint your own stuff on its You can really transform your memories into something very cool here, so I'm just going from layer to layer building everything up. Andi. I'm creating those kinds of shapes. It's a bit hard to describe. What I'm doing here would be kind of pointless because you can see it on camera. If you want to follow along, you can always pause the video and just copy what I'm doing here. And you can put a layer upon layer, and it's kind of also a little bit monochromatic because it didn't use a lot of colors. Endo's painting so you can see that I'm here going over and over again with some kind of yellow orange tones from putting in a few colors. But I'm just going doctor and dark hair. Yeah, you can see what I mean here and for the trees. I basically did just some very, very loose dots on and done here. I'm blending in everything. It's so hard to say what I'm doing here, because you can't really tell at this point what it's going to be. But you will see some landscapes appearing does our mountains and I started with the back mountains, and then I did those that were more in front. So that's basically the technique that I did. I decided what's far in the back, and I started with debt. And then I painted what's more close to me as the viewer. And then I did the next layer, which was even more close to me, and that's basically what I did. So just deciding in what kind of order it is kind of useful to do this because, yeah, you can always go back and paint things that are far behind later on. But chances are that the things that are more far behind are the ones that are lighter. And here you can see a forest appearing with a light source in the middle, and this one is going to be a green landscape, a swell with trees on a little long here, which you can see appear later on. So it's going to be exciting. Yeah, I'm just doing one thing at a time, always looking. When things are dry, I'm moving on to the next peas. And when things have to dry, I'm just stopping at the one that I'm currently painting it. So these are quite a few paintings that I did at the same time. Does this kind of foot technique where you can really, um, force yourself into being more loose because all those are super tiny. And if you tend to be a little perfectionist like I, then this is perfect for you because it's so tiny and especially if you use a bigger brush or you Kant focus, focus on any a little every little detail. You just have to look at the big picture and just make things up and not make them super duper perfect and super duper detailed because you just can't. And you're working on so many at the same time that you don't really focus all your attention at one of those. But you your focus is kind of split, so this mind might seem a little colander intuitive. Since you're not focusing on one thing, but I think to loosen up and as an kind of exercise, this is really perfect because you just don't stress over making one thing Great. Yeah, it's kind off. It has the downside that if you mess up one of these and all the others Great. Well, you have this one messed up painting that kind of ruins it all. Yeah, that's the downside. I've had this before because I do things like that quite often. And I've had that before that I like to off three or something like that. But this is all the kind off a lesson that you can learn to not stress over that not everything has to look great. I'm not even talking about perfect. Sometimes you might really hate one of the things that you painted. And that's okay, too. And if you paying three things and you don't like to, then don't focus on the two that you don't like, rather focus on the one that you do like. And if it really turns out so terrible and you like one of them, then go ahead. You have permission to cut it out or to just go lose something over the ugly ones. It's a sketchbook, our and our journal. And you kind of half this whole thing, this whole collection, off pages and not every page will look awesome. But if you really, really hate one thing than just paint over it, lose something over it. Just get rid of it. I mean, if you really hate it, But if you don't absolutely hate it, just learn to accept it. And this is just practice. Sit on stress over everything. And as I'm saying all those things, I realized that I'm not just saying this to you. I'm also saying this to myself and those air lessons that I have to learn. And I did learn them through using our journals because you can never make every page great . You can never make everything great. It just doesn't work that way. And it doesn't have to know every art piece will turn out awesome. So I've been rambling a lot kind. I haven't been talking about what I'm doing here, but you can see what I'm doing here just basically going layer by layer and for this forest want, which is I think one of my favorites here. I just did the branches later on because they're darker. And then then I did this pots way, which is starker and for the mountains. You can see that I just did the ones that are closer on later on. So I just went from the ones that are far away to the ones that are closer, like I mentioned earlier. And then we're here again on the left side, where I'm adding two sleeves to our trees and those are just dots. That's the way I paint trees and bushes on all kinds of plants. Here, you can see it again. I'm just putting down bigger and smaller um, dots. Just make sure that those aren't the same size because that will make it look more organic . Some dots should touch each other and others shouldn't. Um, that way it will look more organic. And here I'm just creating trees with a dark dot technique. Here, again, on those are tiny trees or the are far away. And so I just messily put down those lines to make it seem like those are trees. And I'm not obsessing over painting every single tree, because again, those are tiny paintings, and I'm using quite a big brush. And this is exactly what you should be doing here to loosen up. Or you can add details. I'm not really. You have the permission to do it as detailed as you want to, but this is just for me personally kind of warm up page on just something to relax with. And if you end up with a few blocks that don't look like anything at all, that's okay, too. Then you have some beautiful blobs, and those will look who once you remove the tape because the tape puts it all together, I think, and even if it's not so cool, you should have looked at my first landscape painting. So don't pressure yourself into making this perfect. But if you want to get better at something like that, just do it over and over again and just, um, do this exercise maybe once a month or even once a week and you will see yourself improve. Look for reference pictures. Try to copy them as best as you can, but not with too many details. And then you will really get the hang of it and get better at it and just add onto those paintings over and over again. And you can see that I'm putting the darker pieces onto its here. Now I'm putting down more dots and dots. That's all I do. Basically, I'm just creating dots and shapes and lines, and that's it. And here I am, removing the tape with just the most satisfying part ever. And here you can see all the finished pieces. You don't have to exactly copied them, but if you want, you can go ahead and do it, and I will see you in the next lesson. 4. Moving on to a Bigger Scale: So for this one, I'm putting down some Was she tape again and this time on Onley putting it on the borders since we're doing so lightly, bigger pieces this time. So I'm starting off with ah wash off basically just water. And then I'm adding in some color. I'm adding in some blue and some orange and some pink just to have this sun set Evening kind off sky here and all the colors blend together really nicely because I'm using a lot off water. And that's just a very smooth look here with pasta, little light colors. And then, um, here I'm moving onto the next one, and I'm doing the same thing here. A swell. Just putting down some water and Dan later on, adding in some colors. And here you can see that I added a little bit of pink and purple. Feel free to use whatever colors you like. You can use similar colors, Demi or you can use very different ones. I know that the green that I used is a sap green, but other than that, I don't really know color names, and you really don't have to use the exact same color so don't worry about that. And here I'm creating a skyline. This doesn't have to look really need. You don't have to use a ruler for that. But if you want to, you can sketch it out first. I just wind it and just kind off had fun and let go and didn't really try to make it a spur . Fichter as I could, I copied those two pictures that I'm painting at the moment from photos that I did. This one was when I went to New York, and this is diff you from the Rockefeller, a Santa Ana and e feel free to copy those pictures. There's no problem with that. You can copy them as much as you can or just loosen up and do it however you want, especially with this skyline. You can make it us detailed as you want, or just create your own little city and the one on the top. This may be a bit more complicated. I I have to admit that it's not the easiest one, I guess, but you can switch this up as much as you want to swell. Or maybe if it feels easier. Just dude one on the bottom. It's up to you. What you want to follow our Which one? Not or even if you don't want to follow any of these and just take it as a little bit of inspiration. That's fine as well. So I'm just adding a few off those background details here. I'm heading them with purple, and it's just hills and trees and just all those shapes that I can see and the reference picture. I'm trying to copy them, but I'm not forcing myself to make it look exactly like the picture. So it's up to you whether you want to really copy it or making your own. Um, I don't really force myself to copy it ast much as I can. Well, you could do that if you want to, but I'm just kind of winging it and having fun with that, and especially if you want to go outside and do things like that outdoors and not copy it from a picture like I did here, then you will kind of have to loosen up a little bit because you won't have all the time in the world. And even if you do, everything looks different. outside and things change outside light changes, and you have different kinds of perspectives compared to when you have a picture. So it's harder to completely copy things when you move outside instead of copying a picture . So maybe it's easier to copy pictures at first. A lot of people say that you're not supposed to do that, but I think art doesn't need any rules. Just do whatever feels right to you. And I love to sit at home and copy the pictures that I did earlier. I don't really like to sit on a mountain top and draw, but if you want to do that, go ahead and do that. I I'm sure you'll enjoy it if it's your things, so I just make up the shapes as I go on again. This is kind of hard to explain. I'm just making those shapes that I see. I'm copying the dark tones, the lighter tones. This goes a little bit against what I said earlier when I said that I paint the things that are far back first, because here I just went, um, all over the place, kind of, but it's just because this picture is a little bit bigger and again things had to dry, and there are also darker parts in the back. But if you look at the reference picture, actually those aren't ask dark. I make them darker as they have to be. So don't worry if it's not exactly elect a reference picture. But you could just do the things on the background a little bit lighter. Maybe it would look a little bit more, I don't know, focused on the things in the foreground. Maybe it would look a little bit more calming, and the viewer with no more were where to look. But that's the way I did it. Here. You can follow it or change it up as you want to. And just the basic lesson in this one year is to just because it's a nature seen. Just do, um, those organic lines. So don't be too straight. And here we don't have a nature seen. We have a city skyline so you can be as neat as you want. And it's just, um, those shapes are way more defined, so you don't have to be as loose with this one. But you can. I think that it has a really cute, illustrative style. If those houses are a little bit croaked, you can see the one World Trade Center in the back. It's absolutely not straight at all, but it doesn't really matter. I don't mind that it's just a style, I guess I could have made the lines completely in line. Use a ruler and everything. But I didn't really feel like that, to be honest. And here you can see those trees and bushes in the foreground. Those are lighter. So I left those parts out and just did the darker parts at first. And now I'm kind of giving those the edges. I'm adding in the edges here because you can't really go lighter with watercolors like I said earlier, and that's why you have to leave out those parts. You could use mosque in fluid, or you could go back in later with wash or something knocked up. But if you just want to use watercolor, just leave out the bits that are lighter and just work around those bits, and you can make the light, um, the light shapes first and then go around with a darker color. I hope that this old zones kind off. I hope that it all makes sense. It's a bit hard to explain, and I don't know how often I'm going to say that, but it ISS You can see that I'm just making shapes more in more shapes. But just be very loose here. Just enjoy it. Just look at the reference picture, Andi. Then just a fun. I'm gonna see if I can link the reference pictures somewhere so you can see them in full size, or I'm gonna put the reference pictures at the end of this class so you can pause it and look at the pictures. Or maybe I'm going to do both. So you can really copy the pictures and look at those a swell and not just at my painting. Because when you look at the original picture, you can make it your own thing. You can, of course, follow what I'm doing here, and that's super useful, I guess when you want to have a step by step kind off. Um, thing to follow. But if you want to make it your own and really learn how to paint a landscape on your own in your own style, it's best to really follow the original reference picture and just applied the tips that I'm giving you here and just painted on your own. Or maybe you could do both on follow what I'm doing here. And then afterwards paints the reference preacher. I don't know how much time and motivation you have to do this, but I really what I'm trying to tell you here is that I want to encourage you to do paintings on your own, because I know that a lot of people follow a lot of tutorials. And then they say that they can't really paint things on your own. They just can follow tutorials, and it looks decent when they do, but they can't do their own painting. So I really want you to learn to paint from reference pictures or from real life references . It doesn't really matter. Just look at references and make it your own, because when you learn that you can do any kind of art piece that you want to do and you can see here that I added in darker layers. Now this is the foreground, and you can see on this painting. I think that this one is really, really good thing to do when you first try to do things like that, because it has. All those layers are very light layer, and then it gets darker when you get closer. The one on the top looks maybe a little bit more complicated, but it's just a bunch off lines and shapes and everything. So I really hope that you can learn a lot from those two. And like I said, I'm going to give you the reference pictures so you can look at those as well. I'll see you in the next lesson. 5. Final Landscape Painting: So we're now moving on to our bigger piece and I use some what she tape again to define the border on now, lightly kind of sketching what I want to do here. And I used ah lot off water and just a tiny little bit off paint. And I'm just defining the things that I want to do here. I'm going to show you the reference picture for this one as well. This is a picture dead I found on a free stock photo page. So this is not a picture that I took myself, but I really like this picture, so I decided to use it for this course on. It's also a great picture for beginners because you can simplify it. Or you can add more details however you want. So you can see here now that a put down a lot of water and now I'm adding colors here. So I added in an orange tone and a red tone, and you could see here that I had a little bit too much water on there and I just used a dry tissue to remove the waters. Or you can always do that if you have too much water, and it creates this kind of puddles that you don't want to have. Just use, Ah, what a dry tissue or a dry brush to soak up the water. And then it's gone. And then I added in more colors, and I meet this kind of Grady end, and because I used so much water, the colors run into each other smoothly. This is the wedding wet technique. Just make sure that the paper is really wet and not halfway drive, because when it's half we dry and you add more paint with water on it, you get this kind of cauliflower effect that you might not want. But if you like this effect than it's OK to so now on the bottom, right corner, I'm adding in the grasp. It here on this is just a green tone that I'm mixed with a little bit off Do you don't have to use the same colors that I used to you, but you can use similar ones if you want to. I makes a Sepp Green with, I think, on ultra Marine blue and a little bit of Indy go in there, and now I'm defining the areas where the water ends and, uh, grass bits start so kind of loosely creating a line here and then just filling up the space on the left side, a swell. So here we already have the ground structure off our painting, so to speak, so you can already kind of tell were things are going to be on. This does not have to be detailed at all. We will go back into all the areas and at details in their concede e that I'm adding more and more colors. Always start off with a light wash and then let it get darker and darker over time, like we did in the previous videos. So you have more control over everything because it's always easier to build up colors over time. And that's exactly what I did here. Andi. Now I'm coloring the mountains in the back, so I used this purple tone and I darkened it up more and more. So I did the same thing here, started off with lighter version, and it got darker and darker. And here with this piece, I used a bigger paper sheet, so it's easier to control everything. You can add more details. So maybe it's easier for you to work on a bigger scale or it's easier to work on a smaller scale. You can figure that out for yourself. There's no right or wrong way to do it. There's no one there who tells you that you have to do it a certain way. Just figure out what's right for you on Now I'm adding in more off the dark tone here, and you can see on the top right corner that a little bit off cauliflower effect has appeared. Looks kind of cute. I don't know. I don't really mind it. A lot of people want to be super precise with watercolors and make it look super realistic and perfect. But I think that the beauty of water colors is that they are not 100% predictable, or at least the way that I used them. They're not, and this is kind of the fun of it to just loosely play around with it. And here you can see that I'm now adding the water and I'm just using water, and at this point, the water's already a little bit dirties. Oh, hey, It appears as if there is paint on it, and now I'm adding in a little bit of orange to our stream here, to the water on. This is because it's the reflection off the sky and you can see the sunset reflected in the water here and did. This is just on the top because the sun's it is just on the bottom off the sky. So it's the complete opposite from what it is above. I'm sure you can admit I'm sure you can understand that, and now I'm just blending at out a little bit. So I'm using less and less off the worm tone as I go down and now adding in more red tones , Just build this up again, start with just a little bit and then blend everything out and you can always kind of go back like I did here. It was a little bit dark red, and then I lightened it up by just blending it out, using more paint on day, especially if you have good quality paper, it's really forgiving, and you can go back a little bit. I'm using here the Hana mood, a expression watercolor paper, and I can really recommend it. It's also, I love it for watercolors. It hates mosque in fluid. So if you use masking fluid in might be the wrong paper. But if you don't, it's awesome. I really loved this one, and I really recommend investing in good quality paper and rather buy cheaper watercolors and better paper. So now I'm adding in clouds in the sky, and those are darker compared to the sky. It's just because of the sunset that it looks like death, but in reality they're obviously a light tone. But just because of the Sunset day are dark. And now I'm adding in a few trees on the right side and there will appear more and more trees. Do you concede here now? Um um, adding them in very, very loosely. I'm not trying to make them super detailed or perfect. I'm not trying to copy DA, make them super realistic because they're just not the focus of attention, and they don't have to be perfect. I just let them be messy and just focused on the whole entire picture as it is. And then I'm adding in more details to the grass and also here on the side off the Ross and kind of. I don't know if those are stones or whatever it is. It just costs a little bit of shadow here. Andi. I made this really dark so you can see Ah, contrast between the cross and the water on this guy. Dark tone also blends in with the Ross and also with the water. So it's not a harsh line. You concede here that I added more horizontal lines, a swell, and then I blended this together kind off, and I vary the amount of pain compared to the water that I used. I used more water for lighter areas and less water and more paint for the darker areas. But I used the same color here on Now I'm adding in the mountain on the left side, which is a similar color compared to the one on the right side. It's just a different tone, and again here I'm starting with a lighter tone and then adding it up and just building up the collar and making it darker. It's just the same thing over and over again. Just building everything up and you will get the hang of this once you do it enough times so you will see how dark you can go at first or how light, and you don't have to get this perfect right away. You can practice this over time, and you will kind of build your intuition when it comes to this, because I think quarter colors are a really intuitive mediums, so you will learn how to use them without thinking about it. It's not really rocket science. It's not, uh, really something where you have to use your brain a lot and figure things out. It's just something that you learn to do overtime. And here is a rock in the middle off the water. And I just added that in here. And then I went on with my mountain here, adding in more trees and just doing dots and textures, whatever a sauna reference picture and translating this into my own style. And also, if you don't really know what your style is or don't really have a style yet, don't worry about that. Just keep painting, keep practicing and improving and enjoyed a probe process and just do all different kinds of things. Basically, just follow what inspires you on. You will find the things that you like. So now I'm adding in more trees here, and I'm using a darker tone. So I'm just basically varying the tones that I'm using, going from light to dark and trying to create a lot of contrast in this piece. This one is really dramatic because of the sunset, and it's actually a kind of dark peas. I think it's kind of dark, but it has a lot of contrasts, and I really like this piece on. I like the atmosphere that it has on. Yeah, you can try Teoh, just mess around with everything and just figure out a way that it's right for you, because I'm not saying that you have to exactly paint like I do. You don't have to paint loosely, or you don't have to pain in super detail. You can do it even more messy that I'm doing it here. Or you can try and figure out how to add more details. If you want, it's completely up to you. Just follow your own instincts and your own curiosity, and you'll figure out the right way for you. So I'm adding in more trees. Andi, just more details here and you can see that I added a lighter green tone on the left side, So I just let it be lighter here because we're building up the colors again. Something that's a bit hard with watercolors is that you have to leave certainties basis wide. We saw this in an earlier piece with the trees than where I had to go light and then just paint around it to create the darker tones. And it's exactly the same here and now. I'm starting to add a lot of details to the water here, and I'm just basically doing horizontal lines with a darker color. Again, start with a lighter color and build it up here because if you go to dark, it's already too dark and you can't really go back. So I used. It's a darker tone, but it's not incredibly dark. You will see that it gets darker and darker and darker, and I just did those horizontal lines that are not completely straight. I just wanted to leave out some parts that are reflected by the light, and everything else is a bit darker, and you can see the color instead of put down first shining through you can see the orange and the yellow and purple tones. You concede them shine through the bluish purple tone that I put on top. And now that it's dry on, some time has passed because sometimes I take breaks. That's a rise of rise, uh, ending in more details here. And I'm just making it darker and darker again and just adding more off those horizontal lines that are super crypt and super not straight on purpose, because water does not have straight lines ever. I think I think I've never seen water with straight lines, just make it croaked and messy and organic because organic things are almost never straight . And now I'm adding in more tiny little details. I switched to a smaller brush here because, um, going smaller, but until this point, I was using kind of a big brush. That's just something where I don't want to at too many details at first. Then I use a bigger brush and then later on, when I want to add more details. Once I figured out the basic structure of painting, I use smaller brushes and you can use any kind of brush here on. I think the one that I used must be a size two or smaller. I don't really know. It's just ah, smaller brush, but it's not tiny as well. So I'm just putting some dots and more and more dots on the forest on the on the trees here on, I'm just again building up those colors layer by layer, and it's kind off a wet on wet thing here because it's not completely dry. But I didn't really focus on whether it was completely dry or not. I just put down more and more paying more and more paint. I'm just messing around because trees are so organic and so messy, and especially if you don't do at every little detail on them. I think that loose watercolor trees look the best. In my opinion, it's just my taste on. That's why I just did them so loosely and now you can see with the darker tone I edit in little dots and lines that are a bit more detailed compared to the ones that I did before. And you can also see that I left out some spaces that were lighter just because those are the lighter spaces and those get more light, and you have to leave them out on now. I'm adding in more details to grass and just painting the grass here, and I'm also looking at the shadows. Where are the shadows? Where are lighter tones just going in horizontal lines here again and not going? We're tickly because that would look a bit strange. So that's also a tip. Look at the reference picture and look, if those lines that you can see are more horizontal or more word ical and then do it in that way, um, I think that most landscape paintings will have word will have horizontal lines because there's the horizon and everything goes along with that kind off. But the trees are kind of the Horace more the horizontal lines and the grass and the water and everything. Also, the clouds are more in a horizontal way, so make sure to hold your brush the right way so you can see it. Now that I'm putting down more details to two trees that I'm holding the brush here, you can see I'm painting in a different way. Now I'm painting from left to right and back again, just in a horizontal weight. And when I paint the trees, I'm doing it the other way round. So just move your brush along with dumb thing that you're painting just along with the lines that you're doing. I hope this makes sense the way that I'm explaining it. It's just this way. It will look more organic, more realistic, and everything will look more clear and authentic and make more sense on Dhere. I'm just adding more darker greens. I mixed green tones with a little bit of brown and a little bit of blue on. I made sure that my colors weren't two y Brent on this piece because it's so dramatic and most color is in the sunset and everything else is not the focus of attention. And therefore I made sure not to make it to vibrant, and here you can see that I'm now starting to really dark and up the water. This was kind of a bold move, because now I'm adding in very, very dark bids. If you don't feel comfortable yet to make it s dark, just build it up as we did before. But I was just really feeling feeling it at this point on wanting to add more contrast year and just really get this water finished and that this was the reason that I added in more darker tones, and I kind of blended them attitude, as you can see here. To do that, you just add more water to the brush. As you move far more in the center, you just make it lighter and just use less pain compared to water on when you painting on the outside, you use more paint on Dhere in the complete center. I made it a bit darker again just because there was the way it looked. It was a bit darker here just to make it look a bit more organic. But you could also make this kind of been yet look where it's dark on the outside and lighter on the inside. This would done maybe look a little bit more like the lake. Compare it to this moving stream that we have here And, yeah, just adding in more horizontal lines again, make a word count of how often I say things like lines for Santo details. I'm just basically doing the same things over and over again because painting landscapes it's just repeating the same steps. And once you've done a few landscapes, you will improve so much you will see so much improvement. Um, you won't get it perfect straight away on you will have to learn some things probably, But you will figure this out pretty soon and figure your own way out and figure out how it's most fun for you. Now I'm adding in more shadows in the background in the back trees here, leaving out the trees in the front. So there you can be a bit lighter and just filling up colors on the right side again. I'm just moving around. I'm not doing one thing after the other. I'm just moving around from the left side to the right than again to the water and just going around to make the whole thing look cohesive. Have it's similar colors, having a similar for amount of details and just going around from one thing to the outer, and just to make it one piece and not super detailed on the left side and then moving on to the right side. I'm just going around, and that's just awaited. I'm painting. I find that this is the easiest way off painting to just build everything up over time, layer upon layer and just going along with that and not finishing one part and then the next one and then the next one. Because when I would do that, I would kind of lose the bigger picture. I wouldn't really know anymore what I'm doing. I would just lose myself in that. That's the way that I'm doing it. And that's the easiest way for me personally on. I'm just darkening up everything and just giving it a little bit more lines. Always looking at my reference picture, I'm looking at it again and again. It's not like I'm coming up with things like that. It's not like, Ah, there it would need a little bit of shadow. I just look at the reference picture. What does it tell me? Is there shadow or is it not? Because I don't know everything and I am just looking at it, and once you've painted a lot of landscapes, then you can start creating your own landscapes in your head without any reference picture , because once you've painted something over and over again and done landscape paintings over and over again with different light settings and different colors and everything. Then you can start building your own landscapes from your imagination. But I think to make this really look convincing, you'd have to have practiced this a little bit. I have done some paintings from imagination, but not so many yet. But I'm changing around things when I copied the references. So I am not always Pleat Lee following the reference pictures. Sometimes I changed things around. Sometimes I play with the colors or with the details or just leaving parts out, not adding those or adding parts in that weren't there before. But it really, really helps to look at a reference picture. There's absolutely nothing wrong with that. You're not less of an artist. It's just the opposite, your learning from something that's already dare from a picture from nature. You're just learning things as you go along, and there's absolutely nothing wrong with learning. And you don't have to be a master all the time, and you don't have to have figured out everything you just learn as you go along, putting things down and just seeing if you like it or if you don't and then next time you will have improved. You can see that I added it more darker colors to the sky just to make it look a little bit more dramatic and blending out everything. So now I'm basically done and just adding in some final touches I used ah white Posca pen Here you can use the watch help in Ah, what? Wash anything that's opaque and white. Or you can just leave out that step. You don't have to do it. I just stone that it could maybe use a little bit off wide just to have a little bit of sparkle in there. And now I'm removing tape were already done with this piece. I hope that you could follow a long Distrito Auriol and learned a thing or two. So I'd love to see this one and the class projects If you want to copy this one, this is your class project. I hope that you liked it and thank you for being here