Ink and watercolour landscape, drawing and painting a Lakeland scene. | Cally Lawson | Skillshare

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Ink and watercolour landscape, drawing and painting a Lakeland scene.

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

9 Lessons (57m)
    • 1. Introduction

      2:24
    • 2. Materials you will need

      2:37
    • 3. Composition and focus

      6:40
    • 4. Pencil guidelines and distance

      6:53
    • 5. Ink drawing

      6:43
    • 6. Painting the sky

      7:37
    • 7. Painting the middle ground

      7:32
    • 8. Painting the foreground

      13:32
    • 9. Conclusion

      2:32
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About This Class

In this class you will be drawing and painting a landscape in ink and watercolour. The reference photograph is of a scene in Cumbria of a valley surrounded by hills. We will be looking at how to create a sense of distance in our landscape paintings. We will also talk about how we use reference photographs and altering composition if necessary. 

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Meet Your Teacher

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Cally Lawson

“Paint like no one is watching"

Teacher


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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Transcripts

1. Introduction: Hello. Welcome to my school share class. I'm Cali and I enjoy teaching Beginners painting Android both Iran Skill share at on my YouTube channel In this class today, we're going to be doing a landscape from a photograph to talk myself a couple of months ago . So it's a photograph of somewhere called Troutbeck tongue on. It's quite an interesting photograph is quite a lot going on in there, so we want to talk a little bit about what to out what? Sorry, not want to have, what to leave out and what to emphasize. So that's really gonna be the focus of what we're doing today. Is working from a photograph looking at things that were mailed looking at how we're gonna get a lot of distance in painting because there is a lot of distance in that landscape and how it can get. Bring the foreground forward by adding extra detail in the foreground. Compared to that we add in the background. So this reference photograph, you say, available in the reference section for you to download or to have a look at on your own monitor, and also there you'll find a list of materials so really the main focus of this is going to be getting the drawing right in the beginning, looking at the photograph, thinking about the composition and thinking about that distance that we want to achieve. So I look forward to seeing you work at the end of this course. In the meantime, if there's any questions you want to ask, please don't hesitate to contact May. You could do that by a direct message on Instagram. That's probably the easiest way. But do ask if you struggling with anything, and if there's anything you want to ask along the way as your work and I'm always happy to help with that, I hope you enjoyed your in this lovely landscape. If you are new to my still share courses, it might be helpful for you to do the previous landscapes that I did earlier. Wrong before you do this one, this is a little bit more complicated than the land states we did right at the very beginning of muscular share classes, so you might want to just go back and do those if you haven't done them. That 1st 1 goes into a lot more detail about the materials you need to know that kind of thing. So you're an absolute beginner. I suggest you go and have a look at my other courses in the first landscape. Ones up took before you do this one for those of you that have already done those I really look forward to seeing how you progress with this slightly more complicated landscape. So do you enjoy the course? I'll be back with your gain at the end. 2. Materials you will need: before you start. It's important to have the right materials, so I'll just go through them very quickly now. But I will actually put in the reference section for you to download a full list of everything that I've used. So the paper that I'm using is this blocking foot block and it's 100 £40 in weight, and that's obviously watercolor paper on. It's a not pressed one, really, It's not the Brown. That's the important thing, is the fact that we get the weight right? I think over £140 having a cold pressed is a good one for beginning to start with. We always need our pencil and eraser. I'm sure that's something that you've all got on the pen that I'm using today actually is a unit pain fine liner on. It's a size nor 0.5 on the one that I'm using. His a c P A. You don't If you've not got a C, you don't need to go out and buy one, especially you can use your black pen as usual. But the main thing is, whatever pain you're using, it has to be waterproof, unlike fast. If you don't know if it's waterproof. Just quickly. Check it by making a lying on your paper, allowing it to sink in and dry, and then a few minutes elected. Once you know it's completely dry, go over that with the water and see if it lives. If it does, it's obviously not waterproof. So that's the main thing withdrawing Pence's that they're waterproof. So apart from that, we need to jars of water. You always want to jazz. You will one for a plane to the paper with your paints, and you will feel the warmth for washing your brushes and trying to change your water as often as you can. It's nice to have a good, clean water to work with. Also, you might want to have a ruler. You obviously need your reference photograph and your paints with a lot different paints. Just work with what you've got. Don't feel you have to use exactly the same causes I'm using. Use the colors that you like to look, you know that you like that you work with often and that you've got a home. Don't feel you need to go out and buy any extra ones. We also call it slightly differently. In any case, many thing to remember is how to use your three primary. So did talk about that in a previous skill. Share costs on caller. So try making lots of mixes with the three primaries to get lots of different grace on brown. So it doesn't matter which three primary use Just trying different combinations of those. So apart from that sometimes think of this. Anything else you need. Oh, yes, of course. You always need tissue. It's always handy to have some kitchen roll to the side of you. That's a good thing. Teoh always help there. And I think that's about it, isn't it? I've probably forgotten something like say will be written down in that reference section there on a pdf for you. 3. Composition and focus: before you start drawing any picture that you doing from a photograph, it's worth sitting down with your photograph and thinking about some of the things that you perhaps might leave out some other things you might emphasize and some other things that you might alter. We're not doing a complete copy of a photograph. We're making an artwork, trying to put some character into it and put in a little bit of our own style into it. So the Wilbur things that we want to older on that with things that we won't want to alter to make a better composition. Now, if you've taken the photograph, you've set yourself and you like the composition as it waas sometimes you don't necessarily alter things, but we're just going to take a look at this one. So this is one I took on a walk a couple of months ago on. One thing that I'm going to do with this is get rid of the tree. I don't think it really adds anything to this photograph to the picture that we're going to be doing. The reason I took it was because I like this little building here. So think about the things that attract you to the image to begin with. Even if you work enough somebody else's photograph. A photograph that you've got off somewhere like picks. Obey. What was it that drew you to? It wasn't the coolers, was it? The singing itself? Was it something in particular? So I like this little building. And I thought we could make a bit of a focal point of diets quite in the foreground, but also this path going away. So I've got this path meandering away, which then joins up to this wall, which is going to give us distance. So one of the reasons for choosing this photograph was to get that distance going away into these hills. So there's a couple of things like I said, that I will alter as we're going along. So I'm not gonna put any of this tree in if you want to. It's your picture that you doing, not mine. So do do it if you want to. But do that last your sky's gonna be liked anyway. So if you wanted to put that on, you could put that on over the top afterwards. I'm gonna concentrate on getting these hills in and forget about this tree. The other thing that I'm going to leave out is this farm here in this little White house Whites a very dominant cooler, and it really jumps forward. And if we want this to be in the foreground and we want this and the Red River here to be sort of the focal point, we don't want this little White House jumping forward. So I'm going to completely ignore that and pretend that that farms, not there. So to get distance into a picture, you want to be put in more detail in the foreground and less detail in the background. This sort of sits in the mid ground. But, you know, behind this, where this field starts here is really where you want to be, thinking of being mid ground. And then, obviously we've got these background hills here, and you can see how much light to these are. How much more faded? So gonna need a lot less caller in these, which is also going to give us some distance. So if you compare the amount of tone and color in there compared to the amount of color that was seen in the foreground here, that's gonna give us some distance. So what? Whatever photograph you doing? And even if you do in the same ones May you might want to alter things differently to May. So just sit and have a little think about it in a plan. Before you start with this one. I really like the way that we've got a line here of grass whether Hill is going right up to this building. So that line there is pointing out that build in this line coming down is pointing attic. This wall here is pointing at it so you can see how will that be? Easy to make that a focal point and be quite nice Well, to the direction of some other grasses here to get a line there so we can use lines to guide the eye around the picture where we want to put the focus on. But this is also quite a focal point as well. You've got this path going away. So you really want to emphasize the fact that that line is scooting? Are foot there, get the eye to go around there to the bone, and then into these distant hills. So that was the idea with this particular photograph. So what I've done, I'm going to be working on this blocking food block. This one is £140 in weight on its not pressed or cold pressed so you can see there. It's a CP for cold pressed, and it also says not those two things are the same. So that's what you want to be looking out for because it's a handy paper toe have, especially as a beginner, you'll find it the easiest to use and go for something either £140 or above. On That translates to 300 grams. Okay, so it doesn't have to be these particular brand, but you want to be looking out for something that's not pressed and above £140. So I started by marking this out in the same dimensions as the photograph itself. Again, you could alter the dimensions. You might want to make it square. You might want to crop it off completely. There's all sorts of things you might want to change, so that's entirely up to you. But I'm doing it the same dimensions. Is this photograph. And the only things I'm really ultra is getting rid of this tree on this farm here. So go ahead now and put a few pencil guidelines in. So the ones that we want to start with really are looking at how far down this line comes and just pop in a few of these lines in concede the bet comes right to the corner here, so that's an easy line to put in there. So that's what we're going to start off with just looking at some of these markers. So if you come down this side, in fact, I can line he took more or less counter. So we've got the hill coming to there, and then the barn where this line is here is about here. And then we've got the back at the bottom here, comment about here. So just start by putting some markers in and then do a very light pencil drawing, thinking about which areas are going to be those biggest blocks of shape. So if we look, we've got a big block of shape here and here, and those are the basic shapes that we want to get in. Don't be at this stage, Put in any detail in of these rocks. Don't we put in any grass in Just put the lines of the hills on the field. So if you go all the way up there on long here, you can see that's more or less a triangle shape that you've got another hill here, another one going up there. So just look at those shapes that you can see and put very, very basic lines in. This is actually called Troutbeck tongue. For those of you that are local and familiar with the Lake District, you might like to know that that's Troutbeck tongue on. This is sort of High Street along here, so I'll go ahead now and put some guidelines in of thes hills and things, and then we'll come back and talk about a little bit about drawing the building. 4. Pencil guidelines and distance: Now, when it comes to join the building, we need to think about the perspective off it and it going away into the distance. It's not actually that complicated a shape. This is quite level, but it is going away this way into the distance. So if you think about these two lines, but a line of the roof there, that one there eventually somewhere over here those two will join up. So it's quite like it's quite a basic shape. But do you just look at the measurements of it on? Look at where that top line of the roof sits to begin with, and it's slightly tilt him back. So it's about there. Get the roof in first, quite a low pitch on it, and we're not seeing the base of the building. We're not see much of this bat wall here. It'll because we've got grass and things in front of it. So it's basically those lines there off the roof, and we can just see part of the door as well. There. Don't forget. We're gonna be putting some detail on with the pen so we don't need to be put in all the detail on but just think about things going away into the distance and having that perspective. That and think about that with your path as well. Obviously you puff is much closer together here, much narrower. And then as we come forward, it widens out into this back here into the Ford that we have toe walk over and get wet feet . Okay, so I think that's probably enough detail for your pencil, but just put a bit of time into that, perhaps more time than I have. I'm sort of struggling a bit with this shape of this hill. I don't feel I've got it right. I think some of that will be made right once once we get the detail in with the pen because it's actually going this way a little bit more than I've got it, but just get you the hills in the right place. Take a little bit of time to get these lines off the wall and things and get you detail in there with the hill where once you come to put your pen on, so I'm going to go ahead and put some pen on here. So in order to keep this distance as we talked about before. We want plenty of detail in the front, and this is going to take us a while so won't talk through all this, but really just bear in mind when you're doing your ink drawing to keep these lines at the back quite delicate and quite light, not too much detail on. Then gradually build up the details. You come to the foreground, so I tend to work from the foreground. Sorry from the background forward and as I'm coming forward at, put more detail ing so that that's closer to the viewer. And you've got that detail there to give some distance in that paint him so very little detail here when this hill on as we come forward, slightly more detail in this one because obviously this one's a lot closer to us than this one. This is a lot lot bigger than this, and it just obviously look smaller because it's further away, got little bits of trees and things here. So as we get past this line here, this building is sitting on this bit of ground here, not this ground behind it here. So from here, if you think of a line going across and around the building and down everything in front of their once more detail on a lot more thought on time put into it than everything behind it . So keep this is very, very sketchy background. This is mid ground, and everything in front of this line count is foreground detail, so I'll go away now and do that ink drawing. I'm thinking about doing in CPR, actually, because of the colors, and this was early spring before the flowers had come out and everything. As you can see, the tree hasn't come into board yet. Eso you still got a lot of that Bracken there that's dead from the year before that. We've still got all of those brown colors, a lot of moss and things, a lot of dry grasses from last year. There's not a lot of green in there, so I'm thinking about user the CPS, so that would not got too heavy Black pen on there. You can use a black pen, or you can just carry on and use your pencil if you prefer, so I'm going to use that on spend a little bit of time now getting all the detail in there . And then I will come back to you when we come to putting on the color of the sky. 5. Ink drawing: good. He's coming looking the mid deep in the There's no more compassion. A new something on these something give satisfaction, right? Tell me. I want a chance. Tell me Fake news till May. Wise day news. Compassion. Um, on these tax, there's no satisfaction. - Tell me Breaking How big is your? Tell me, How high is your patient? - Tell me. 6. Painting the sky: always make sure before you move on to your painting that your ink is dry. It want to take a few minutes to dry, and especially with euro raising as well. When you're getting rid of those pencil lines, just make sure that it has dried before you do that. Go on, have a brew or somethin. So I'm not entirely happy with my drawing. Not quite Got the measurements right here. Somehow this isn't sweeping down enough. I feel that this needs to be lower. This needs to be higher and around here somewhere have gone rollers. Well, so this is perhaps election towards that. We should take more time on those first pencil guidelines and because once you've committed to ink is there and that and that's it, So, yeah, Although I'm not happy with it, it's still a nice little picture. And don't forget that when you're showing some to your outward later, they're not gonna have this reference photo to say you've got this not exactly right. You know, we're making a picture. Don't worry too much. If something, If one of the hills isn't just the right size or one field or wall is just in the wrong place. Really? Don't worry about that. You know, we're here to enjoy ourselves and to relax. Don't be putting pressure on yourself to have everything, absolutely as it should be. Okay, so a little bit wrong there, but I'm not going to worry about it on. Actually, as long as I've got the shape of this route, right and we can see each Troutbeck tongue. That makes it a focus, because that was the focus of the walk. That's what would what? That was the hill that would walk that day. We went up here and around and then back down. Okay, so we need to start looking at the sky. Now, At first glance, you would say that all this area is white, but actually it isn't. You know, if we look at the white of the side here, or some of the highlights here or the white of the building, this is not the lightest area on the pain, Tim. So I've made a mix up, which is mostly water that's very, very wet. There's a lot of water in there with just a tiny bit of pigment to make a blue gray. So I've got cobalt blue I've got a little bit of raw sienna and a tiny tiny touch of Eliza Rin but only a tiny talk show It's very much on the blue side and I'm gonna put that over the whole thing before we start. And then just at these tiny touches of blue because we don't want a complicated sky we want to keep the sky nice and simple because the detail on the color is in the foreground. So to begin with, I'm just gonna slightly tilted up. Sorry about that. I'm just gonna slightly tilt my page by popping this 10 of pencils underneath there, just so that things are flowing down rather than back on. The brush I'm using is a one inch flat brush, which is 25 millimeters. This one's from Dale around, and it's a synthetic one. You can use whatever you like. And if you haven't got one this big, don't worry. It just means when you've got a bigger brush, it's easier because you don't have to work just as quickly as if you had a small book. You can apply more to the painting in one go, so make sure that your brush is nicely soaked in that watery mix that we've got there and cover the whole thing on. You can hardly see it. It's almost wiped, so it's just going to take the wide white off the paper. As I've said before, you can tell your head to one side and you'll see where the paper shiny on where it's dull , and that gives you an indication if you've missed any bits. But with a brush like this, you don't tend to miss any because it's a nice big brush. And you say I've just made just enough of that, So make sure you making a foot to begin with. You don't want to mix in halfway through, okay, and you can hardly see the cooler down. We'll leave that to sing came on. That's going to just make this off white rather than white. So whilst that's wets, we've got another color here, and this is the Cobalt blue. I'll just change my brush, so I've got smaller brush. Now this is a size six round. This one's actually a sable, but you could have cost use a synthetic one, and you don't have to use exactly the same size as may. Just work with what you've got. So this mix here is cobalt blue, much thicker. You can see there's a lot less water in that, and I've added a little bit of solute Saru Lee and Blue to that. So just look at where we can see those little patches of blue and just Dr Ting. You can see how wet the paper is and how much that's just soak in in and mixing him with that color that we've already put on there. So don't overdo this just from tiny, tiny bits of blue because, like I said earlier, it's the foreground where we want the interest. This guy needs to be really quiet, subtle and very pale, and that's about as far down results, bits of blue calm. It's slightly bluer here, so we cannot a little bit extra right to the top there on a game with skies, you can really sort of make them up because the person that's going to be looking at this later on is not gonna have that's came from to them to compare. Now, whilst you've got your blue there, it's a good idea to pop some of those reflections in the water. Now, when I look at the water down here, it's very, very pale and light college that, like gray, that we've got here. There isn't much blue in it in fact, can't see very much. But I want to put something because I think it's just gonna make a little bit more interesting picture. Just adopt a little bit of that blew in that we've got up here. And also that makes it quite a harmonious painting because it means that you using similar colors throughout on. I'm also going to put it where we've got heavy shadows. So you've got a shadow on the side of this hill here, and this is just gonna help build some tones and we'll come back over that with some mark cooler later. But just look where the darkest areas are, and we've already got some of that in with some of the shading from the pen where is very dark and shady. If you pop a little bit of the blue on when we come to put the colors on later, over the top of that, it's going to make it that little bit darker and give us those difference in tone. So obviously, you've got a shadow under the roof there and on the door, and this is when it's all still wet. So just dubbing it in really using the tip of your brush and allowing it to move out into the went to pay for their there isn't too much shadow up on the actual hills themselves on because it's quite a sunny day, a little bit down this side, perhaps here where it's in the shade of a cloud or something. So that's probably enough. Don't overdo it With those shadows, I could say we're gonna come on top of that with some more cooler. And but for now, that's probably about enough, and you'll see that it puts, um, shady areas under some of these stones with my pen as I was doing that. Okay, so what we need to do now is leave that to completely dry 7. Painting the middle ground: once again do make sure that it's completely dry before you move onto the next stage so you can check very gently with the back of your hand to see if that still feels damp. It did actually take a wild to drag because, as you remember, the first layer that we put on was very watery. So do let it dry completely if you don't, what will happen is when you start painting your hills, the color will go back into your sky. So this is where really need We really need some patients. So I've made up a few colors. The 1st 1 is grey, and that is made out of exactly the same cause that we began with here. So that was cobalt blue, raw sienna on Eliza Ring crimson. But there's mark raw sienna and blue in there than there is crimson, because I wanted it to be on the greeny side rather than red. We've got a green made out of the cold boats on the raw sienna. We've got some burnt sienna with a little bit of cobalt added to it on. This is just the raw Sienna on its own. I've also got here. A wash of raw sienna. That's a lot wetter. So what I'm gonna do to begin with? You know, we talked earlier about this line of the mid ground on the foreground, going down here. Sorry. Across here, around the building, and down and classing all this as mid ground, mid ground. And then this is the foreground. So what I'm gonna do is with my a round brush. I'm going to cover the whole of that area with the raw Sienna. Now, by using colors that you will naturally find that of the earth pigments, you'll find that they were well for landscapes. If you want to make it much brighter than you could use Commons and things, you could make a much funkier, more cheerful paint him. But I want to stick really with these earth colors and you'll find that they're very useful for landscapes. So just cover the whole thing, and you'll see I'm going over that blew that. We put their earlier on. Now, when you're painting over subsequent layers, I was once told, and I think it's a very good tip to just imagine that you're painting over glass. You don't want to be scraping at the paper. You want to be working very gently and just lay in the pain. Tom, keep loading up. We brush, making sure that your brush is nice and full of paint. And that's the good thing about this. Sable brush actually is the better the brush, the more paint that they will hold. I'm just looking Catholic where this line came here. So this is where we're going to finish with the mid ground and leave the foreground for now . We'll come to that later. We do too much at once. I'm sorry if we do too much at once, then we're going to end up with it. Drying out owners on how quickly dries really depends on a lot of things. Depends on how good your papers, how absorbent it is, how much water you brush holds. How much water have added to your paint. Mix on the temperature of the room that you're in, and this is particularly dodgy or difficult to work out when you're outside, because if you're outside and is a bit of a breeze drying your paint, you confined. It's really quite tricky with water colors, so you've got to adjust all the time. You've got to think about things in winter. You can take your time a little bit more. Use less water because it doesn't dry just too quickly. Where is that? This time of year, it's drying really quickly. You might want to add a little bit of extra water, so it's all a lot of trial and error. But you can see where we put those shadows earlier that those air still showing through that pains. And, of course, water coolers dry lighter than they go on. So we've Scott those shadows already there. So I want to start with this first gray color and pop it on this furthest away distant hill are not too much because we don't want a lot of pigment this far back. We want this to be distant and not detailed, and that is going probably going to be enough a little bit more here, where its shadow way and again here. We've already got some of those shadows there, as I said before, with the pen so and then the green and a game. We're just gonna dab it in whilst it's all still wet and allow the colors to flow together and mixed together. Don't be overly thinking it. And don't be painting a search just dropped the colors in. It's much greener as we come to these hills at or near a tours. Just be mindful that that that first color might be drying quickly and you might need to re wet it. Like I said, that's all going to depend on the temperature of the room, etcetera. So I'm just filling in the shapes of these fields very, very quickly at this stage. Don't forget, we've already got the detail there. We've got that painting there. We sort of got that drawing there. We don't need to be drawing without paintbrush. We're just dropping the causing and actually probably put some of that. We can't really see this area because it's behind the tree, so I will just pop some that grain as well, cause again those mountains there are much further away. A little bit of gray on here got a lot of gray where the trees are quite a hazy, hazy day. So drop it in and allow some sunshine to still sort of bounce around Doc over the whole thing again. This is old green of the field. And then as we come forward, we've got more yellow. And then we've got this read here, this gorgeous color of this broken that's left there from last year. That will be soon greening up. And because we didn't wet the foreground, those colors are gonna bleed into the bond there. I don't know if you heard that one of the cows is just outside the window, shouting. I would concede these reckless here as well on a little bit over here. So just drop them in, load your brush and then just drop those colors in because it's wet and they're all going to just merge together and make a pretty little landscape Kula on because it's far away. We don't want it to be detailed. A tool. Pop a little bit of yellow in the some yellow in the field here, and it's a bit brighter coming forward, a little bit more red. It's very readiness. It's really showing up. It could have been a bit brave of the men go a little bit more at the, but I think that be nice. When the old fades down and merges into the background. Be careful not to overdo it. Okay, so we need to now leave that to completely dry 8. Painting the foreground: whilst that was dry, and I've made some more of those colors would have made them slightly thicker than the last mixes. But the same colors, this one I've made more of a brown grey. So this time there's more red and yellow in there than there is blue and have also made up a little bit of the sap green. And added to that some off the raw sienna colors very subjective, and I will leave it entirely up to you what colors you use. You may want to go brighter, and you what might want to add more variety of color when I'm doing an ink and wash. I like to keep the colors quite limited, really not using too many different clothes because we've already got the detail withdrawing. But if you want to use a wider pallet and add, Markle is that's entirely up to you. Okay, so I also change my water whilst I was waiting for that to dry. It's a good idea toe. Keep changing your water and have some nice clean water. So I'm gonna do exactly the same thing again. I'm going to go over this with the raw Sienna, which is a nice watery mix. I'm gonna go over the path and the ground, but I'm not going to go over the back itself where the water is. We'll just leave that area for the time being. You see, I've reverted to my big brush. When you use a bigger brush, it doesn't mean you can get things on quickly. So the water finishes about here, so go over here. But when you're using a big brush like this on quite a small painting, you want to make sure that you've got one with a nice tip to it, so that you've got some control over where your paints going. So come right up to the edge where the London's meat in the water there and again gently go over those blue shadows that we've already got there. So we're really not having to worry too much about tone at this point because we've got it in both, with the ink on that blue that we put underneath, and we don't want it to be too heavy. We don't want to be put in Google's news of paint. All Okay, so while that's still wet, get your smaller brush and then start and look at the colors of things. So I'm going to use this color for the barn on just very lightly on the actual roof, because if we look, the roof is much lighter than the building itself. And then I will come down and put more on the actual building. But just dab it in and leave one or two areas lighter and darker. You know, let it sort of merge so that we've got that sunshine still going around there, and we've got some walls here, bits of stone. So this is a nice color for the stone. So although it's the same colors we used right at the beginning in the sky, you can see that by using different amounts of the same three chords how we can get lots of different greys of Brown's. So we'll just look down here, pop some of that in the base of these grasses and where some of these walls and things are at this stage. I'm not really looking too much at the actual photograph is you get to the stage where you think you know you're making a painting and you really just want to make it your own. We've got that solid drawing underneath. We don't need to be doing it exactly as we see it. Enjoy applying that pain there. We've already got weary. Know where those shadowy areas are and where there's more stones and things. So it's a good stone cooler, so you might want to sort of cool arena wanted to of those stony areas. He We've got a lot of stones. Just use the tip of your brush and allow those colors to bleed out. Emerge on the page, but at the same time, don't allow it to dry too much where things are drying too much. You could just use a damp brush just to blend those in a little bit. Now if we look at the green, so I got green coming down this field and again leaves some of the yellow showing three. Because the grass is very light. We've got some areas where it's nearly all grass, where it's very, very light on the grass comes out onto the path of it as well, and again it seems to be drying quite quickly. There, that's just lend out a little bit with a damp brush. We don't want to be having too many hard edges. You are nice soft painting because the right word. But I'm just a plain one color at once. You might want to spend a little bit more time than may thinking about what you call. Is it going? I'm just doing it quite quickly. As with all these classes, I work very quickly in order to explain to you what I'm doing and not take too long over it . You'll have more time than me hopefully to sit and think about it beforehand where you want your cause to be. Leave those areas of grass where the light toe and think maybe about all the clothes you may want to introduce to get a bit more detail in the foreground. I'm gonna get that bright agree now and look at where the green is right next door's, which much, much brighter. This field here was quite bright, but by leaving it darker are leaving it. Those more muted tones and making it part of the background rather than the foreground will really bring this foreground forward, so you do need to alter things occasionally again, I'm just softening some of those edges off with a damp brush, but you must always do this with a damp brush, not with a sopping wet bro. She don't want to be introducing more water to your picture at this stage will make a mess . I'm not yellow, so it where it's most yellow is a lot of moss in the ground. And again, a lot of those areas off Grasset set true where you might see the yellow. And it's a nice bright color again to bring the foreground forward and send the background backs about putting these brackets equality or not. Always only bring in this world and have an interest was sending those mountains out into the distance. And I'm gonna pop a little bit of this yellow on the side of the barn. There's a lot of like and or something on the side of the barn there, which there often is. I kept my drawing over this side with the grasses and things quite loose, really quite impressionistic. You might want to take care to have a little bit more detail in that that's entirely up to you. We all have different styles. It's been really nice, actually looking at some of the previous classes. Everybody's different styles. When the doing the same. Paint him. Okay, Someone come forward now and do the water. I didn't use this out, so I'm just looking. I don't think we've got much red in the foreground. Maybe just in these grasses over here. We'll just have a little bit in now and then. So just balance it and we got it up here. It just make it gay. More of a harmonious painting. If we use the same clothes throughout, just dropping it in really randomly. Okay, Yes. So I said, it's really nice that we see everybody's pictures when they've done the same subject in They've had the same reference voter, and they all come out with slightly different paintings, you know, on that with their own style on it, which I think is great. So to this caller here, I'm not in a little bit more water to make it a lot lighter. I'm not gonna sort of coloring wanted to these rocks. I'm doing it quite quickly again. You might want to use lots of different colors for these. You might want to have more detail, but it's just to give you an idea of how to get this effect of the water here. So don't cover the whole thing. We don't forget. We've already got that base caller there that would took the white of the paper away. And I'm hoping it's going to look more like water. Get this more extra detail ing. So we need to be released. Paint around the water around these life it's would paint the dark bits and leave these light bits light. I'm going to just add a little bit of pink. So they're littering to that because one or two of thes stones air quite warming color on a little bit more of the yellow again, this is gonna make it a thicker color because I'm not adding any extra water. Just gonna give us a bit of variety in some of these rocks. Don't forget we've already got that blue there. I'm gonna add some of the green as well. I want to just mix some of these close up. Can you say I'm just using some of these quite muddy looking callers loading my brush up? If we look here down this side of the bunk, we've got all the reflections of this above. So if we pop some of those same colors in and just allow them to sort of mix on the paper with each other and with those rocks there, that's going to give us an impression of those reflections that we can see there and again throughout. So just sort of drag you brush along a little bit. I'm not really painting again and just diving coolers and letting it flow get one or two of those shapes of the war to moving along and again. Hopefully, you've got more time than me to spend on that and make it look a lot more water. Can you see here? It's very, very dark underneath, so we need to go a little bit darker there. Just get some very strong blue running out of places on my palette to put this some blue and yellow mixed together with a little bit of that red, nice and strong, with hardly any water in it. A tall get a nice, darker grey to sort of pop under the edges here so that we can see we've got a definite edge between the land and the water there. That's gonna help Bring that back lower down. And it's still wet, and we want to keep it wet if we come. I came here. You can see it's very dark around some of the edges of the stones, etcetera. I think I'm going to leave it here. But you could carry on. I spend a lot more time building up that foreground with those rocks and stones and the war to their Then I have done. Actually, whilst I've got that on my brush, I'm gonna just make it a little bit dark here as well. This is really one of the darkest areas. So at this stage, you want to stand back from your painting. Look at your photographs, see where the darkest areas where the lightest areas are and if you need to sort of emphasize any of those. But again, don't do that too much in the background. Just at this stage, stick to this foreground and again, you might want to sort of highlight one or two of those lines. We've got that line going there. She's just going to strengthen the composition a little bit. So they said you probably want to leave it. Let it completely dry and then have a look at it in another day or so and think, Do you need to add anything to it? I'm just gonna very quickly get some neat yellow straight out to the pump whilst it's wet. Pop it in one or two areas again to brighten up in the foreground. Yeah, leave it for a day or so. Come back to it and see if there's anywhere that you think needs altering. Be careful not to get rid of all these light areas. Allow some of these light areas to shine through. Don't completely cover it all. Okay, So come back to you in a moment with a little bit of a someone open a conclusion. But I hope you found that useful. The main thing is to sort of restrict your palate a little bit if you can, because we've got the detail withdrawing used the same colors throughout. So you've got the harmony. But to get that distance, concentrate on getting some detail in the foreground on allowing those background hills to be built much lighter in color, on tone 9. Conclusion: I really hope you enjoy painting that lovely landscape as much as I did. Like I said earlier. It's quite complicated little scenes. You need to take your time with it and have a look at all that detail. And of course, I went a little bit of right with the measurements on the hills. Wanted to foreground. Hill was a little bit too big, as I said earlier, so that just really says is a lesson for us to be much more careful right at the beginning , when we're doing our pencil lines to get those measurements more accurate. But the end of the day really doesn't matter, because the end result is what matters. And if you made a pleasing little picture that you like, nobody's gonna have that reference voted to compare that to two. So it really doesn't matter. Just enjoy what you're doing. Relax and get absorbed in your painting and drawing on. I really look forward to seeing everything that you don't. It's always nice to see those and give you some feedback. Seeing how differently all hours well, it's amazing how we all went from the same photograph, and we all end up with quite different things. And that's great because it just shows that we're injecting our own style into it. We've all got favorite colors that you might like to use, so it was drawing a more stylized way than others. So it's great to see the wide variety and do try and loosen up and put some of your own style into things in your own character. I don't feel that you have to do things exactly as I do. And as I've said before, I don't feel that you have to copy the photograph exactly were making an out where we're making it our own. So always keep that in mind. I was once told that halfway through or 3/4 of the way through your painting. It's a good idea, actually, to throw your reference world regretful way. You might not be brave enough to do that at the moment, but actually, it's a good little tip is that once you are a long way through your painting, just put your reference photograph to one side. Look at what you're painting. Look at the painting itself, I think. What does it need? I do? Does it need a little extra dash of color to balance it somewhere doesn't need. I don't know some extra details somewhere. Just look at it as a whole picture and think about the composition of your painting rather than worrying about the photograph. So I hope you've enjoyed that. I hope you found it useful. I'll be back again on YouTube as usual every Thursday, and I hope to do analytical share costs as soon as they get the chance. In the meantime, has always pleased you asked, if you've got any questions that you want to ask me my rifle now.