How to paint landscape elements - Skies and trees in watercolor | JowishkaArt | Skillshare

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How to paint landscape elements - Skies and trees in watercolor

teacher avatar JowishkaArt, Architect and Artist

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

Watch this class and thousands more

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

Lessons in This Class

15 Lessons (1h 54m)
    • 1. 1 - Intro

      2:17
    • 2. 2 - Materials

      1:54
    • 3. 3 - Skies and clouds

      13:45
    • 4. 4a - Evergreens

      9:50
    • 5. 4b - Evergreens

      8:34
    • 6. 5 - Deciduous trees

      14:50
    • 7. 6 - Class Project: Sky and mountains

      8:17
    • 8. 7 - Class Project: Background trees

      4:54
    • 9. 8 - Class Project: Middle ground trees

      9:22
    • 10. 9 - Class Project: First washes of the foreground

      10:57
    • 11. 10 - Class Project: Middle ground second layer

      4:40
    • 12. 11 - Class Project: Second layer of the foreground

      6:43
    • 13. 12 - Class Project: Textures on stones and path

      3:56
    • 14. 13 - Class Project: Textures

      9:38
    • 15. 14 - Class Project: Last details with ink and white marker

      4:03
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About This Class

This class will be all about how to paint different landscape elements.

I will show you the colors you will need for each element and the brushes  I like to use for landscape paintings.

The sky is the key element, as it sets the whole tone and atmosphere for the picture. I decided to show you four different skies and moods: A cloudless summer sky, a cloudy sky, a cloudy and rainy sky which is more dramatic and a stormy, rough and cold, dramatic sky.

Then we will talk about how to paint evergreens in different distances: masses in the background, masses in the middle ground and individual specimen in the foreground.

We will take a look on how to paint deciduous trees with summer and autumn foliage and I will show you how to paint them in winter and how to choose the colors for the different seasons. I will show you how to paint tree masses and how I paint hedgerows and grasses.

Meet Your Teacher

Teacher Profile Image

JowishkaArt

Architect and Artist

Teacher


Hi, my name is Jowita Marczuk, I‘m  an architect from Heidelberg, Germany.

I work in my profession as an architect, I love to spent my free time traveling, hiking and - naturally - painting!  

Art has been my passion for as long as I can remember, I have tried different materials - pencil, ink, acrylic, but watercolor is my fave so far. I love to paint plein air - architecture and nature are my favorites 🧡

I love to create landscape paintings as well as quick landscape studies in my watercolour journals.

I hope I can help you to improve your skills!

See full profile

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Transcripts

1. 1 - Intro: Hi guys and welcome back to my second Scotia class. It will be all about how to paint different landscape elements. We will talk about the colors you will need for each element and the brushes I like to use for landscape paintings. This guy is the key element as it sets the whole tone and atmosphere for the picture. I decided to show you a forward difference, Kias and roots. A cloudless sky, a cloudy sky, cloudy and rainy sky, which is monochromatic and ostomy rough and call dramatic sky. In the second step, we will talk about how to paint evergreens and different distances, like Mesos and background. Masses in the Middleground. Individuals, patient man in the foreground. And we'll take a look on how to paint deciduous trees with summer and autumn foliage. And I will show you how to paint them in winter and how to choose the colors for the different seasons. I will show you how to paint three masses and how I paint heterotrophs and grasses. At the end, there will be an example for how to combine these elements in a landscape painting. In the class project section. You can follow the steps in this real-time videos for practice or use their learned things in your own project. So I hope you enjoy the class. Yes. Yes. 2. 2 - Materials: The most important material for your water color painting is The paper. It's very, very important to use good quality paper. Only with real cotton paper, you are able to acquit and web without getting frustrated. For the class, I use my sketchbook with Fabriano statistical paper. And for the class project, I use artists cold pressed paper. Follower paintings. I like to use round brushes with natural and synthetic hair. They are able to hold a lot of water and you can paint big shapes and detail worked with them. I love THE river brushes because I can take them everywhere without destroying them. Brushes I use for this class are around brush number 12 for bigger washes. And number eight and number four around brush for painting smaller shapes. A flat brush number 44, wetting the paper. And a really, really small detail brush number 0 that you can use also a rigor Raj instead. Here are the colors I used to paint the examples and the class project. At the end of this video, I will additionally blend in a list of the colors divided by class sections. Other materials you will need. Tissues, washy tape, a pen, or a finalized, a watermark, whitewash and appellate. So here's the summary of the materials. And then let's get ready and begin with the glass happy painting. 3. 3 - Skies and clouds: As it comes to skies, there's one rule I follow. Namely in 99% of my paintings, I start by painting this guy. I bid up the painting from the background of other middle ground to a foreground. This makes it much easier than the other way around. For paintings with sharp edges, I use Washi tape. It doesn't have to be the original one. I always use the no-name products. The big benefit of Washington is that it will not damage your watercolour paper using other tapes, you have to be careful when removing it. Generally, I like to work wet and wet when it comes to paint skies. This method conveys a diffused softness. That's why I love using it. We will learn the paint for difference K-modes. When you're practicing, paint them quite small at first, maybe something around a postcard size until you become more confident. Because I wet the paper using a lot of water, I always use good-quality watercolor paper. Otherwise you won't be able to achieve the seamless gradient because the paper will occur and the water will concentrate on the low areas. Be careful, the paper has to be damp and Chinese but not wet. So let's begin with a cloudless sky. Wet the paper or the whole sky area with a number 12 round brush and makes the wash of French ultramarine blue and Prussian blue begin at the top of the paper, bringing the wash down the same brush and a lot of water. The sky is dark overhead and paler at the horizon. Therefore, I stop near the horizon line, wash the brush and clean water, depth it on a piece of tissue to try it a little and smart the rest of the paint into the clean area. For the next step, it's important that the mix is more pigment debt than the first one. This is the key for painting with the wet into wet technique as less pigment and paint with a lot of water always flows into more pigment and paint with less water. This might produce bleeding so you don't want in the sky. Again, begin at the top to dock with the top of his Chi, wash the brush out, dry it with a tissue and smart the paint and the relied horizon area. Every time you feel like there's too much pain or water on the paper, use a dry brush and lift some paint of the first guys finished. Let's continue to cloudy sky. Again, begin by wetting the PayPal with clean water, postcards with clouds. I like to use a kind of negative painting technique. This means I pay the blue sky and leave whitespaces to become the clouds. I start with the same mix for the sky blue as I used for the previous guy. It's Prussian blue and front ultra marine. Begin to place the larger clouds at the top by varying the pressure on the brush. I'm trying to achieve a fluffy looking clouds. Clouds in the distance appear smaller and narrower, place them near the horizon line. I loved the brush again with a stronger mix of French ultramarine blue and Prussian blue. And place the mics around the top of the sky to strengthen the feeling of distance is skies are always paler at the horizon line, as I mentioned before, in the first Sky demonstration, if the paper is to whet, the paint might flow too much. In this case, simply use a kitchen towel to depth out the cloud shapes. But you need to quickly as once the paint has started to dry, it will not lift out. For a dimensional effect. I like to bring in some shadow or reaches to the bottom of each cloud while the paper is to damp. So work fast. Mix French ultramarine were burnt on bow for a warm gray and begin to darken the clouds carefully with a hint of paint. Don't use too much water because this might produce unpleasant pleadings. With a strong omics, bring in some Dhaka shadows. Definition sky will look quite different from when it was wet. The colors show to have gently fused into one another, slightly pay LA and creating a self diffused cloak. So let's continue with the sky on a rainy day and your reference photos, the cloud structures might be too complicated to include everything. Focus on the parts that excite you the most and conveying the atmosphere of this guy by assimilating the colors and forms of the clouds. Again, I begin by writing the paper. Use Pinterest gray or any other Gray and start the paint at the top, leaving gaps. Now, at a level of Potter spin to the painters, gray suggests the shadow of a huge cloud on rainy day. As long as the paper stamp, you can work out this guy more and more as long you make sure not to have too much water on your brush. The paint will merge and soften during the drying time. Try to vary. The ratio of pain is gray and pink. To add more interest for the viewer, bring some paint on the paper, smudge some areas to soften the look of the cloud. For fluffy looking clouds at the top of the sky. Depth with the tip of your brush on the paper. If the paper is drying too fast, let the paper dry completely and then begin to wet their whole area. Again. Some specifics. Yet the horizon used more horizontal movements as the cloth or far away. Darken the sky with more pious grave substance. And strengthen the shadows of the clouds with a stroller mix of Pettus pink. If you want to produce an effect of falling moraine, evolved to overstate their impression of strident vertical strokes. Instead, moat that almost dry brush for small amount of paint rapidly over the bottom of the sky. The output would be delicate strokes. This is often quite enough to suggest, right. For this version, used the Dhaka and mom YouTube blue-gray, this strong colo and create a high contrast between the clouds and the sky, which can depict approaching bad weather and look very atmospheric. Wet. The paper, again, start with a number 12, round brush and Rob, in the first wash of a very pale Indian gold. It just plays the darkest and biggest clouds at the top. In this smaller distant clouds near the horizon line. 6666 tried to work fast as the paper dries fast every time you take more paint on the brush, it should be more pigment method then the previous makes 2x x six. So if the paper's dry, although you're not finished yet, let it dry completely before adding well-paid. After drying, you can wet the surface again and complete your sky until you're satisfied. The last thick mix of pandas gray, we'll add the final conquest and drama to the scene. 2x and 2x times x. 2x times x. Physics suggests some pay and narrow clouds in a distance near the horizon. So we finished this guys, let's continue of trees and foliage. 4. 4a - Evergreens: Watercolor work slide too dark because it's a transparent medium. Always start with lighter values and build up dogs. We start with a technique you could pay into the individual trees in the foreign middle ground of your painting because it's more detailed. I notionally divide my paintings in three sections. The background, Middleground and foreground. This helps me to divide how detail each element has to be. Background is more bluish, less detail with less contrast. The Middleground introduce gradually warmer tones and details. The foreground is the most detailed part of the painting with uomo values like greens, bronze, and yellows. Before we begin to paint, I will show you a very simplified drawing. How to render the two different types with different directions of your brush strokes. The brand is of spruce trees usually pointing upwards. We begin in the middle of the tree with along a brush stroke and arrange the shorter brush strokes outwards and upholds. The brand is of factories are usually more horizontal. You'll brush strokes should be generally more vertical and shorter. Work from inside to outside and sharpen the brushstrokes gradually. Now we begin to paint this proofs. Use undersea green and by using around brush size ten paint, the first swash of our evergreen. Start at the top of the tree and paint the branches by varying the pressure on the brush, mall pressure in the middle and less on the outside of the tree. Always paint the foliage first and put in the trunk and branches later, allowing the branches appear in the fall, yet this looks more natural. This will be our next step when we finished the three top. Follow the advice is from the drawing at the beginning. And remember to bring in some variety. In nature. Trees are never symmetrical. With a mix of gray, I paint the tree trunk. You can make a gray by combining the opposite on the colour wheel, such as red and green, or blue and orange. I like the combination of French ultramarine and burnt umber. Ecmo BlueJ Make it a cool gray can mop and I'm about to have a clean toward a warm brown for pines and evergreens and can be both. But in this case, I use a more bluish gray brown suggests some thin small branches at the tree trunk. So that was our first layer. So let it dry for the next step. K 66. Now start with the second layer of the tree. Use a smaller Ron brush stomping around. Number four. Use a thicker consistency of undersea green in parallel in green, which is a quiet, dark, cold green. Placed the shadows on the each branch to make it look diamond. Again, start at the top and work down watts leaving gaps. You want the first layer to shine through at a shadow on one side of the tree trunk with a stronger version of your Gray makes let it dry. Now it's time for a creamy and thick mix of period Green and indigo. This dark layer will add the details and more contrast to the tree. In this last layer of the three top, you paint the darkest greens. So this last layer should be limited to something like five to 10% of the painting. And at the contrast, still pay attention to let the most of your first, second layer shining through. Let the three twang appear through the branches for a natural look. The second tree will be quite the same as the first. Instead of using Annecy Green, use parallel and green for the first layer. This will create a cooler version which you can use for trees on cloudy days. The first version with undersea screen as first layer, creates a warmer mood on a sunny day. Think about the brush stroke technique for affirmed tree I shown you in the beginning. Again begin at the top. Paying clot areas of Hollywood as a mass with a large brush and only flip a few suggests that leaves at the edges of the mass. When you're using a reference photograph, remember, need to try to make an accurate copy of it. The key is to simplify the form of the object. So use your references rather as an inspiration. Just remember to work with the tip of your brush when it comes to the top of the tree. Work step-by-step from the top to the bottom that gradually paying the tree wide up. Again, the is a mix of ultramarine blue and bent on but painted three Chang'e and some tweaks to $0.66. A few fast brushstrokes suggests the grasses on the forest floor, 66666 plus six times is allowed to dry before continuing with the second layer. 5. 4b - Evergreens: Paint the shadow of the crown of the tree with a thicker mix of parallel and green, which I think a mix of ultramarine blue. And, but I'm Bob at a shadow on one side of the box. The final touches by adding Dhaka blades of grass, Admob contrasts that are crowned by using a very thick parallel in green makes 2x times x 2x at some small dots on the edges of the tree, suggesting small Anita's ends breaks. Now we start to build up the masses in a distance and Middleground. Trees in the distance are less detailed and smaller as the trees in the foreground. So let's pay him the Evergreen masses in the middle distance. Therefore, we wet the paper and begin to add the treetops over the top edge of the wetted area. Use around, brush them before and a mix of parallel and green and a hint of lunar blew. The three tops should stay sharp, edged and flow into the damp area on the bottom. So six plus six plus six times less is definitely more when it comes to masses of trees. So don't overdo the distant trees and your paintings. You just want to suggest them. It's much stronger paint on the paper into the damp area with a damp brush, salt that radiation will be self-taught. The wet and wet technique on the button Hebb's suggest the distance of the trees. It can be strengthened when you add a mod detailed tree on the front of this tree masses. So at a bigger conifer in front of the tree mass, waking wet and wet with a strong omics and let it dry. Generally speaking, it's always a good idea to overlap objects. As in this way you can accomplish depth in the scene. Well, if a stroller makes, suggests some individual wrenches, grasses, and shadows. To summarize it, three-dimensionality gets stronger when you paint distant trees, smaller, more bluish toned, and pay law. So if you want the tree masses to appear very distant, use a very payer mix of blue, green, or blue. For the distant Moses, I'm using quite the same technique, but with smaller treetops because of the perspective in a landscape. What the paper put this small treetops over the wetted area. Okay, so suppose depth in a hint of undersea green to add variation to the code green conifers. So we are finished with the evergreens. Let's continue. If deciduous trees. 6. 5 - Deciduous trees: Trees are essential elements in the landscape painting. And interesting tree can we evaluate the effect of a painting? In this section, I will show you techniques how to paint trees in different seasons and distances. We'll begin with a golden green cemetery. Long days of sunlight allow the tree to make lots of deep green leaves. Begin with Indian gold and around brush number 12. At Green where the paint is still wet. I prefer to mix the first layers on the paper, Raibert And the pellet. The combinations from all owing to Carlos to merge on the paper, endless. So it's worth to give it a try at more green for the bottom, as this is the shadowed area of the crowd, leave the top of the tree yellow for the highlights. With a round brush number four out drop in some pigment that under sea green mix. Then using CPR paint, the three trunk. Now it's time to add the middle tones to the tree. Use undersea green and paying the shadow areas of the tree. Ecmo Indigo for the shadows. Three trunks are not always Braun when painting them do a bit of observation. Look at the variety of costs and debug and Moscow green, silver gray, but Rally only Braun putting a thick comics of the same color on one side will have to achieve this cylindrical shape. At the end, at very thin branches showing through the leaves on the tree top. As the weather gets warmer on spring, leaves begin to sprout from bots and branches. The leaves are fresh yellow, green now, use cadmium yellow to suggest the highlighted area on the tree. The highlighted area is where the foliage is in the sun. On the pellet mix a little of blue and yellow and drop it in the yellow on the paper while it's wet. I like to paint the first layer of threes with wet and wet techniques and two colors because it gives it a more interesting undertone. Now at the first middle tones and the wet damp first layout by using a more saturated mixed and the first one, make sure you add more pain to the mix, but do not Atwater. You want the pain to be more pigment at than the first one. So add a hint more blue to your mix and drop it in. Again, make sure you're not covering all of the first layer. Let the first layer dry and begin with the second layer. For the next layer, use a deeper mix of cadmium yellow and Prussian blue. Paint the shadowed areas of the tree. This is always the side which is faced away from the sun. Make deeper mix by adding indigo to the mixture and add more shadows. By building the dogs, you add the diamond tonality to the foliage. The darkest tones are always at the bottom of the tree top, because it's their side of the tree, which is the farthest away from the sunlight. Build up the final contrast by adding more and more indigo to your mix. With a dark brown mix at the tree trunk. You don't have to wait until the crowd is dry. It will nicely flow into another. Now you can use the whitespaces you left out and suggest some ranges and the crone, it's not necessary, but I like to give each tree ground when I practice them. So you can suggest some grasses on the floor at some more touches of indigo on the very bottom of the ground. While waiting for drying. We go on with the winter tree and returned or spring tree for the last touches. In the cold winter modes, the branches are bare and the trees lies dormant, preserving its energy and water until the following spring. Use a Number four round brush and define brush for CPO. Begin at the bowl, which is divide as part of the tree. Carry on with the final limbs. Branches, and tricks are the most delicate part of the tree. Pay attention to paint them very thin with a fine brush. So yeah. We have a mix of indigo and a hint of cadmium yellow and Prussian blue at the last layer to the spring tree. To add the last touches and shadows. At the end, I love to use my allow me pen with waterproof ink at details and texture to the trees. It is today's get colder and charter, the leaves begins to break down and they changed from green to red and gold. So to paint a tree in the autumn, we use unhealthy Carlos with the same method as we use for spring and summer trees. We began with a light area and Indian gold continue with transparent red oxide for the middle tone areas of the crowd while working wet in wet. Paint the three trunk using sepia at some branches in the crown. While the first layer is still wet at Transparent Brown oxide with less water and drop it into the damn paint to suggest the shadow areas. Let it dry. And at the last layer of shadows using the same colors but with a mall saturated makes for distant trees is essential to see them SMS and not to pay attention on all the details you might see. Work with extensive brush strokes. Concentrating on the form of the mass and not of individual trees. By varying the pressure, you can control the flow of the pain. The more pressure you give on the brush, the more paint will flow. Begin with more water and less pigment For the first wash. And build up the contrast by using more and more saturated paint in each step of your painting. Use a mix of yellow and indigo, suggests shapes and the foliage on its bottom. For hedge rows, the approach is quite the same. Firstly, I wet and wet. I'm using Indian gold with undersea green, adding more pigment and the bottom, let it dry because we want to apply the next layer, wet and dry. Begin to build up the shades with Annecy green on the bottom here, the floor, and vary the pigmentation of your mix. These small saturated spots will suggest small shadow areas in the hetero. For the second hetro, it will be again the same technique. I only change the shade colors. You see painting for you, it is all about painting the light, middle tones and shades. For the first layer, I use always wet and wet, using at least two colors. In the most cases. The second layer boot up the middle tones in the last layout bring in the shades. Successive success. Substances, substances as this. Successive sss, sss, sss, sss, sss, sss. For painting grasses, it's important to move the brush from upwards. Use erotic thick mix of paint and paint. The narrow leafs vary in their shape, directions of strokes, colors, and values. Begin with less saturated paint and make it thicker with each step. Try to use different links. At the end, you can add some details like literal branches to the hedge rows. So this is now, let's move on to the class project. 7. 6 - Class Project: Sky and mountains: I've already done the rough sketch showing the main elements of a landscape. Make sure everything is in place and that you understand the details you are going to paint. Keep at lied, clean with unshaded lions and no hedging. Then we begin to lay down the first wash. Begin to wet the surface of your watercolour paper very well. This is very important because when you don't, you won't have enough time to paint the sky without hard edges. Loved the brush with pioneers gray and begin on the left top of the paper by bringing the washed down by dentally putting the paint on the paper. If you want to put more paint on the surface, press more. If you want to bring less pain down, use only the tip. At some puddles, pink to the mix and a lot of water to get a transparent mix. Now, leaving a wide gap between dependence gray sky, begin to paint the big clouds. Het ma PUT US pink and go on with the cloud at the horizon. By varying the amount of the two colors. The mix you create a lot of interest to the sky. And reduced palette is the key for color harmony. Start adding a more pigment that consistency column mix of pilots gray and potters pink to the clouds and smudge the color of a damp brush illiterate. The paper has to be still damp. It just doesn't hold the brush voter curve of bringing a small amount of pain to the paper. Use this technique for this model clouds to make the biggest clouds look more fluffy and loosen them up. If you want to fill space with the paint, used the side of your brush clips it. Begin with pine is gray and the round brush number eight to bring the washed down beginning at the top of the mountain. So let's just substitute. Then we will utilize the call press surface of the paper. With dry brush work create a broke effect, which suggests snow and shadows on the mountain peak. Repeat the steps for each mountain. With substances. Substances. So 2x 2x times 2x, 2x, 2x times x. With the rest of the paint on the brush create texture at the bottom of the mountain. Substances. While the bottom off the mountain with a small amount of potatoes, pink slips. 2xa, 2xa, 2xa, 2xa, 2xa, 2xa. And those positions, x_0, x_1, x_2 times after the second pass had dried, proceed to the second pass of color. The background trees in the next video. 8. 7 - Class Project: Background trees: Now we begin to paint the background trees. Let the paper with parallel and green and a lot of water then mix a very creamy mix of carolyn green. Start to pain the tree tops of to evergreens with describing mixture and a smile ROM brush number for the paint will flow into the wetted area and do most of the work for you. By matching the pain with the brush into the wetted area they reside becomes small, blurt. It will create a nice gradation and effect of depth. 2xa, 2xa, 2xa, 2xa, 2xa. So this is 2x times 2x times 2x. Leave the trees like this right now, in my case, I will add a hint of Indian gold that a bottom to suggest some detritus trees in front of the evergreens. It will be a nice contrast and add more interest to the PEC route. Trees. Make sure you use less water and more paint for the Indian gold mics. Otherwise you might produce pleadings. So now we go on with the background trees on the right side. Therefore, we wet the paper again and let the paid flow under the damp area as we did before. At the end, at some hints of very pigmented pay, the extra that attempt. Trees suggests some trunks and treetops at this technique eclipses. So six plus six is six times ten to 666666. In the next video, we will continue with the Middleground trees. See you there. 9. 8 - Class Project: Middle ground trees: To strangle the aerial perspective, use a very pigmented mix of parallel and green for the Middleground trees. The key for a believable perspective is that you have to use dark and mixes with less water than near the object is. For the background, I use more water and more transparent mixtures. 3s in the four and Middleground are usually the darkest things in the scene. They can act as a frame to the mountains in the background, creating a feeling of space and distance. Go on to pay the evergreens as we learned at section four of this class. And don't forget to bring variation to the specimens. We will divide the Middleground trees into two layers. The first layer will be our base layer. The second layer will add contrast, depth, and dimension to our evergreens. Begin to bring down the first layer and form the shape of our conifers. Vary the shape of the branches and the height of the 3DS. You don't want them looking all the same because this can look unnatural and borrowing. Don't forget to very depression on your brush. Mao pressure near the trunk and less at the edges, suggesting some small branches and mediates. Also tried to bring in some variation to the individual trees. For example, paint the brain just more horizontally, or piety applauds. Let the crown end at the floor, a few meters above the floor. Try to put individual brushstrokes together and connect them to one another. Make sure to leave some space is free and let this guy shine through a later. The synthetic bristles of the brush I'm using right now are more elastic than the bristles of my Collins toothbrushes. So I can control the brush strokes better and bring them more accurately on the paper. You are working wet into wet. It's important that you load more pigment on the brush would free each new application. As you can see, I reinforce my mixture over and over again painting the three, the darkest spots are near the tree trunk, in the middle of the three, and below the individual indicated branches. What about the relative ages of the individually trace step-by-step with very fine brush strokes through NDA separated branches. He'll brush tip should only gently touch the surface of the paper. For some subjects. Just 2x times. The tree on the left hand side is a little bit close, that will reveal. Therefore you should paint the branches a little bit larger. The closer to the viewer, the bigger things appear. Yes. 60 times 66.66. Pain lotteries drink in some variation by making some trees illiterate, thinned out all of the code smaller or larger. There are no limits. Release your creativity. Sowed for reference pictures on the Internet. A golf O log can take reference pictures, biosafety get inspiration. So this isn't just 6666 flips. Yes. So that was the first layer of the Middleground trees. Now we will let it dry and move on through the first washes of the foreground and get back to the second player later. 10. 9 - Class Project: First washes of the foreground : We begin with the first swatch of the Paul, wet the surface of the paper and bring on a mix of ultramarine blue and burnt umber on the edges of the path. Because the papers sweat, the paint would throw into the meter, creating a great Asian at a little stronger mix of two same Carlos to the foreground to strengthen the REO perspective. Paths are also a good way to lead the glands into the painting and to enhance the three-dimensionality indices. Painted pay law and less detail near the horizon line. And stronger in the foreground. You feel like there's too much water or pain on the paper. You can absorb it with a damn brush. Therefore, it ride the brush on the piece of tissue and absolve the pain or Watteau. When necessary, dry the brush again and repeat the steps until we begin to bring the fist swash of default ground foliage doubt with a mix of a new goal to start to paint the head trolls at a foreground for the lightest parts of defoliate. Dropping a little, atlas. Agreed. I like to mix a limited amount of colors of the first layers because it gives a nice variation. When do you use only one color? It might look a little bit flat. Eat Club of plants has the overall color. What a small reddish one, yellowish. Always tried to isolate the color temperatures with aperiodic plans in order to separate them. At the bottom of the hetero dropped in a touch of transparent red oxide to suggest another variation of a hetro et belt on buffer, the shadow area on the bottom. Null begin to drop in law and law of undersea green to yellow hetro depend the shadow of this one. With parallel and green at a little bit more off contrast. Repeat the steps for each specimen you want to outline in this scene. Again though, if the highlights using Indian gold, the middle values with transparent red oxide. Dogs with burnt umber. Zum zum zum, zum, zum, zum, zum zum zum zum zum zum zum zum zum zum zum zum zum zum zum zum, zum zum zum zum zum zum 6666 successes. So this process substances, substances 2x, 2x, 2x 2x and 2x. 2x. 2x and 2x times 2x, 2x and 2x. That keeps those exceptions. Since 1666. Let the first layout arrive. When you feel like you're falling edge has too much wide gaps between each other. You can bring a very light wash off a light color like Indian gold over it, but P OF layer underneath has to be dry. Now we've gone to the dimension to defoliate what the surveys, again with a very light wash of onion gold. Make sure you're not covering all of the first layer. You up the lightest color to be visible on top and drop in transparent broad oxide for the minimum values of the but'm extensions. Since these exceptions and those exceptions, 2x and 2x times x times x. The use of your brush by tapping on the paper and suggesting bread tos by flipping the brush fast from the bottom to the top. Subsistence. Subsistence. So six times six plus six plus six, cosx sinx, cosx, sinx, cosx, sinx, cosx, sinx, cosx, sinx, cosx, sinx, cosx. Successive process substances, substances, substances, substance. Now we let the foreground dry and get back to the Middleground, trace. Those exceptions. 11. 10 - Class Project: Middle ground second layer: To add dimension to the Middleground trees, we begin to add the next layer. Band has to be a thick mix of less water and a lot of pigment. So we can add the dogs that are tree branches. Use a Number four round brush to make sure not to cover too much of the first layer and begin to add the shadows on the bottom of each branch. The shadow areas get bigger the farther away from the sunlight. This isn't just cosx sinx, cosx, sinx, cosx, sinx, cosx, sinx, cosx. At the top of the Allied hedge row in front of the evergreens at a few dark green points to make it look like that. Gaps in the hetro to reveal some of the Everglades behind it. It's a kind of negative painting at loosen up the foliate, making it look more natural. Six times x plus x plus 2x, 2x, and 2x. 2x plus six times this paid the tree trunks appearing in the crowds. Sometimes. We look at the tree drawn with whitewash later, but you can suggest some tweaks growing directly out of the tree trunk, as long as you have the green paint on your brush. 12. 11 - Class Project: Second layer of the foreground: For the second layer of the foreground, foliate mix, a thicker mix of Transparent Red Oxide and brown oxide. This would be our darkest shadows on the foliage. Try to work, lose covering more on the bottom, less and the meta. And single leaves on the top. At an MBA from the shadow areas do the same with a mix of amnesic green and indigo. At more indigo to the mix to achieve a darker shade. Tried to make irregular brushstrokes. Some smaller mangrove tip of your brush. Sum up Baker, with the side of your brush. Suggest some topics of grass on the bottom of the painting. Remember that the closer the object work out more and more details. I like to dock in the bottom edges suggesting shadows. This will enhance the REO perspective. Begin to paint the rocks in front of the scene with a light makes a French item marine and bent on Bob. The ratio should be something like 70% blue and 30%. But on Bob, leave hints of wide of the top. This will be the lightest part. The wash should be a watery mix of more water than pigment. We will ECMO and more pigment gradually. Edittext show ever thicker version of the same makes working wet and wet and suggesting fishes and shadows. Make sure that makes a small pigment. And then the first wet layer. It's very important because otherwise the fresh paint will produce pleadings. Now use the same mix on the path to suggest the shades of pebbles lying around. We were at the PEBO to have a wide ma Kalita. To make sure to apply the rules of perspective. The pebbles should be larger at the front and become smaller in the background. I want the doc in the rocks on the bottom a little bit more using a thicker mix with a very small amount of water and more pigment. The contrast of dark and light areas will attract the attention of the viewer and lead the glands into the painting. I want the intensify that perspective effect by adding some more shadows, pebbles in the foreground and background. As I mentioned before, we will add the pebbles later with a white mockup or squash. So six. And adding some more details, Anti-Federalists that arrived side of the pot. The head just a little bit far away from the viewer. They don't need to be as detailed as the hedges on front of the veal, 66666. Now let's move on with some textures in the next video. 13. 12 - Class Project: Textures on stones and path : Now we add a warmer shade to the path as it turned out later due to cold. Therefore, I'm using a little of bum tigers. I genuine, it's granulate, Very nice and helps to create the texture of a sandy part. Load the brush with pained and bring down the paint at the edges of the path. Clean the brush and dried on a tissue, and all the pain that emitted off the path. This technique would imitate the shadows of the objects next to the path and create three-dimensionality. Do the same with the other side. 666, 2x, 2x times 2x times four. The darkest shadows on the stones use a very thick mix of indigo. Edit on the bottom of the stones. Tried to work out the roughness of the rocks with small Greg's fishes and spellings. I'm 66.66. And then with an almost dry brush swipe over the paper to create Pickstone. 14. 13 - Class Project: Textures: So far the landscape has consistent of larger and smaller areas that we created with paint. Now, it's time to add more details, such as tree trunks, shoots, tweaks, individual or leaves. Be inspired by nature. With whitewash and a hint of blue paint. The three trunks in the middle ground with the same mix. You can add highlights and textures on the stones and the path. In general, the closer the object is, a view of the mod details and textures should be painted. This automatically gives the picture more depth and three-dimensionality. For instance, if X isn't just 66 thousand times two times two. So this process, take the smallest brush you have and paint individual brand is holding the brush vertical to the paper. Make sure that the branches are wider near the flow up and thrown up on the top. Ed mod details like leaves tweaks, limbs in the background, work out some more fishes on the boulders. Fine details are most effective when drone with quick strokes of a fine brush. Barry shapes, directions, colors, and values. Substances. You can also add some barren trees in the background. Don't do too much. You just want to give a few hints to the view. If you work out details in the background, make sure that your paint as trans threat enough because you don't want to emphasize the background trees. So six plus six plus six plus six plus six plus six. For the details in the foreground, you can use the Crimea mixed to give the foreground a higher contrast and dynamic process. Some substances, substances such so six times six plus six plus six plus six times 2x. So this suggests more clumps and leaves. 2x and 2x plus six. So this process substances. Substances. So 2x plus six plus six plus six plus six times 2x plus x. And we have a very creamy mix on your brush. Paint, some more texture to the boulders in the foreground. Substance, substance, substance. So 6.66. And now let's move on to the last lesson. 15. 14 - Class Project: Last details with ink and white marker: S last steps. I often use a fountain pen with waterproof ink and a white mock-up. I'm using lots of proof ink in case I want to work with water again afterwards, for example, to reinforce a shadow with watercolor. The white MCA I like to use for highlights. I tried to use both sparingly and only work out a few passages. Sometimes it takes, it takes x and y. We are adding the textures. I would like to summarize this class for you. Pay more details in the foreground and less in the background. Use wal-mart cost into foreground and cooler in the background. Webb from background to the foreground and from light to dark. And layers and increase gradually the shadow and contrast. Search for reference pictures and try to catch the characteristic of the object without copying it one to one. So this process takes place. Plus six times this. Oh no, it's yellow tone. I hope you enjoyed the class and I would be happy to see a walk in the project section. See you. Substances.