Ink and watercolour landscape painting tutorial, tumble-down barn. | Cally Lawson | Skillshare

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Ink and watercolour landscape painting tutorial, tumble-down barn.

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

11 Lessons (54m)
    • 1. Introduction

      1:58
    • 2. Before you begin

      4:04
    • 3. Pencil guidelines

      7:45
    • 4. Ink drawing

      5:33
    • 5. Wax resist

      1:38
    • 6. Background colours

      7:01
    • 7. First wash

      2:47
    • 8. Painting the background

      8:33
    • 9. Painting the foreground part 1

      6:56
    • 10. Painting the foreground part 2

      6:24
    • 11. Conclusion

      1:43
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About This Class

In this course, we study where best to focus our detailed drawing depending on the subject matter. We also study painting a whole piece using only 3 or 4 colours, mixing greys and browns from the primary colours. Detailed description of each step throughout the drawing and painting process.

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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, I'm Carly. Welcome to another one of my Skillshare courses. Again, we're looking at ink and watercolor drawing and painting. The main point with ink and watercolor is that you allow your drawing to shine through the paints. And you're also allowed to paper to come through the paints and keeping nice and fresh lots of water, keep it nice and loose. And we're looking today really at where to put the focus and where to put the detail with your drawing. And we do this differently for every subject that we tackle. So that was really what I want to talk to you about today, is tailoring your techniques and the things that you do each time you do a new painting and drawing to the subject that you're doing. So stop and think about and think where you are and to start and where you're going to put that detail and where maybe you not want to put any detail. So the particular photograph that I've chosen is one from a very recent work that I did. And as I was coming towards the end of my walk, he started raining. And there's this lovely little barn That's tumbling down and we've got all that detail that we can really enjoy drawing. But behind that, it's raining and you can't see the rest of the valley. Really don't want to go any detail behind the building because we want the focus to be on the building. So we'll talk through all that and you'll see what domain as we go along. And I'll also talk through the mixing of the colors for the paints as well. And I'll come back to you at the end where hopefully you've had time to do the projects and you look little dots for us all to say. And I don't have to just do this one photograph. I've got Pulsar more in the reference for you as well. If you want to have a go via the photographs that I've included. You can also do those using the same thought process, stopping and having a really good look at your reference, thinking about where you're going to put the emphasis with the drawing, where you're going to put the most detail and why you just going to let it go it loosely away and out-of-focus. 2. Before you begin: Before you start any painting and drawing, you really need to study your subject and decide where we're going to be put in most of the drawing work and how much paint we are going to be using in different areas. And think about your composition and think about how best to tackle the subject. So every picture and painting you're doing might need you to slightly alter your techniques and slightly alter your focus. So with this one, because it's a building that's got all this detail in abolish stone work. You really want to be sort of putting the emphasis on you're drawing it on your pen work and anything behind this line. So if we go across the top of the grass here, along the building and along the top of the hill here. Everything behind there. You really don't want to be put in any drawing in because all it's going to happen is that's going to make it pop forward. If you put lots of work behind the barn, that's going to be very distracting from the bone itself. So everything behind here, once leaving just to put a little bit of paint on it afterwards when we're finished drawing. So it was a rainy day when I took this photograph. This is hose water down here and this is coming back down towards hose water. And I'd finished my walk just in time before the rain started coming down. And it's given us this very hazy background where normally we will be able to see the Fells behind here. We can't see anything because of the rain, but there's still enough light in the day. It's still a summer day, midday. And to just shine off the top of these slaves and bits of stone and things here to give us a nice focal point here with the lightest area being on those. So have a little bit of a think about how much detail you put in, in, but also where the details going. So this really needs to be our focus is really nice. Old building. Also need to think about the composition. Have we got any lines that are going to draw our eye towards this building? So we've got the line of the top of the hill here, here. And then if you look at the grasses, you can make those go towards as well. It almost looks as if you could go in there and probably there is a bit of a path there because I'm sure that the shape will go in there to hide behind the wall when it's particularly windy, et cetera. So there's a bit of a line that you could take towards the door and the angles of some of these grasses you could alter to bring the eye towards the barn. So that's another thing you want to think about. You don't want quite as much detail in the rocks back here because they're further away and you want to give us a little bit of a distance. So you want us to know that this is the focus and in the foreground. And these are a little bit further away, so not as much detail They're the problem with using photographs is the pickup a lot more detail than I would. If you are sat there. If you are sat there, you'd really be focused on this and this will be in your periphery. So that would kind of fade away a little bit. So just think about that when you do any painting and drawing is to try and alter the photograph a little bit so that it looks more like what I would see if you sit now and look straight to an object on the table in front of you, perhaps your mug of coffee or whatever. The thing is that to the side of that when you're looking at the cup of coffee and not moving your eye and looking over there, uh, very much out of focus and in self-focus. So if you want that impression with the pension and drawing, that's what you need to think about is everything around the focal area to be slightly softer and less focused and less detail than this itself. Again with the grass, Although it's not further, nearer to us than the building, we don't want it to distract too much from that been a focus, we'll put a little bit of detail in the grass, but not as much as in this stone work here. Okay, so I think that's everything to begin with. So just don't go ahead and put any ink behind here. Now another photograph and I'm going to add a few different photographs for you in the reference section. You might actually make that judgment to put some drawing back here. So every subject that you do is going to be different. And that was kinda the exercise today was to make you think about where I'm going to put the ink and does how much ink drawing and detailed as it needs. And where should I just leave it to be a loose wash of paint afterwards. 3. Pencil guidelines: So to begin with, I'll just tell you a little bit about the paper that I'm using. This is a Bockingford block and it's a 140 pounds in weight, not pressed watercolor paper. So I would advise you use a watercolor paper and I would advise you what you would use on one that's pretty smooth because you're going to be doing some quite detailed ink work on this. So you don't want something that's too rough. You do really want to choose something that's either a 140 pounds or above in weight if you want it to absorb plenty of water. And I would never go with my watercolor paper anything less than a 100 grams in weight. So go, go for a 140 pounds if you can, or above, not below and you find you get better results, but you work with what you've got available. So I don't normally use rulers when I'm working. But I think in the instance of buildings, I think it's perhaps a good idea to use a ruler to make sure that you're nice and accurate. So the first measurement that we're going to look at is the measurement along the bottom of the building. And of course, it's difficult to say because you've got all these graphs and everything. But you can't say here the corner, and you can say more or less where the corners here. And actually if we look, there is going to be about here somewhere. Switch slightly further down because we can look where that's coming across the front of the door there. So it's about there somewhere. And if we measure that, That's exactly eight centimeters, which is quite handy. Just thinking, do we want to A-sharp and angles. I'm sure that this comes about us somewhere. Yeah, about eight centimeters. So let's start by putting that measurement saying and try and keep that angle as well. She go across, think about how much room you need to leave in the foreground for the grass. And how far along you are going to be coincide would say about the maybe just a little bit further this way. And then if we look at the next measurement, we'll look at this one. And that's more or less vertical. It's not perfectly slightly going out that way. Obviously the old age of the building. And that's two centimeters. Okay, so we've got those two measurements there. And I think probably the next one we need to do is the one that goes across here. And that's some of the fall. So it's very difficult because we can't see that underneath the grass, but we've got an angle on that and that's about four centimeters. And these are only guidelines. We can't alter them afterwards if we're thinking it's not looking right. Okay. Now, the corner of this is very difficult because that's billowing out. It's actually a curved line there. So I think we'll just leave that for a minute. Not one. We've got 7.5. And obviously we've got some perspective going on here. These two lines you got. So you imagine your vanishing point. And that's a whole, another tutorial actually, but with perspective, the lines are going away. So we've got that. It's not want to be the same angle is slightly more, not that seven. And like said, this line here is pretty much below it out. So it's not something you want to do with the ruler is small at that kind of shape. We can put that in for now, k and look at the measurement of this one here. Again, that's two. So it's the same as you want down here, which obviously it would be if you think about the whole thing as a rectangle. We haven't got to line across there. We've got the line of the roof, but let's just put that along there and it's going to help us with that. Would look better if that was straight, but it's not below when out there slightly for the door. And at some point in the door in free hands, you don't need to do every last little bit with a regular, Okay. And it will more natural if you don't do everything with the rule. So let's just have a look at this. So the top of the roof is about here, down to here. And you've seen two sides of that slave there. Let's just have a look at that measurement safe. We've got that right. That's about a centimeter across which we've got there. Four centimeters across the So that's right. So you can just keep checking. Even if you're doing it freehand, you can just keep checking that you've got the right measurements and so seeing the top of the wall, so this is the top of the wall here where we're going to see these nice slaves that are catching the light. And then again, going up here. So you can imagine that line there, although it's disappeared, you can imagine that would be the top of the roof there. And you wouldn't know avail to see this line here obviously because it would be covered by the roof. So this line here and behind here, it's a little bit more tumble down on ruble they done. So it's not just as easy to measure. So you've got a game. We're seeing both sides of the dam got this nice slate on the top. Okay. So that's more or less looks funny here, but I think that's because we got such it's going off at such a funny angle. Can you see how they stones come down to there? And then we've got this huge ones so that two there it straight. And then you've got these huge stones here. So it's going to make it look a bit strange. It look different again when you get the grasses in behind there. So just really observe. You can see a little bit through here, not much as a tiny bit of a gap there. So if you look at the shape there, That's a little triangle. So that's what we've got there. A little triangle that you see in through. Okay, So spend quite a bit of time getting your pencil lines accurate before you even think about going on to porcine your income. Because once you start that you can't really alter it. So once you've drawn your little band, think about those lines. We were saying earlier, directional lines of the grass. So you've got some grass sort of pointing that way and a nice long line of grass pointing this way on up to the door. And then the hill itself sort of starts back here. We can put that lid of a shape in for the rocks there. And the rocks here at this side a much higher up the hills going going up that way. Okay. Such keep it nice and loose that don't. And here if we look, there's a putting the shaping of whether grasp or was that line. So we put that line in but it's actually going to be covered with the grass. So if you just pop that there, that means that you won't be tempted to come down all the way down with your stonework when you start your drawing. Okay, so that's probably enough pencil guidelines. And as I've said before, if you want to put more in it to feel a little bit of extra confidence it can do. For me that's enough to work with. And of course, the more you put in, the more you have to erase after which a switch, you know, it needs to really go to raise and a soft eraser that's not going to damage your paper when you're doing work like this. Okay, so you go ahead now and have a go at getting those pencil guidelines and really think about how accurate those out before you even think about putting your income. 4. Ink drawing: For the ink drawing, I'm using a drawing pen that is size. I'm just looking for it. Not eight. I mean, don't use a really, really heavy warm. You've got all those little tiny bits of stones to get around. And so you don't want to be using something too big, too big, and maybe one craft fine nib, and make sure it's obviously waterproof as we've said before. So I'm going to start at the gable end here without lovely shape. That's lame, that's going to still perched on, managing to be still perched on the top of there. And look where the shadows are. So although it's a rainy day, it's still a summer states still midday and there is light getting through. And obviously because it's damp as well, that light is going to be shining off some of these rocks and stones, which makes it very pretty. So. But also that means the light isn't getting inside and underneath the stones. So these areas between the stones are really very dark and very black. So don't be frightened to get those dark colors in as well. Sorry, the dark tones in sheila say, as well as the very light ones. I'm not going to talk through the whole drawing process. You've got your framework of your pencil work. And it's just a case of slots in, in those stones into where they sit in here. These kind of slighty, well, you won't be slaves were live but they'll be the B flat stones that the roof was attached to. So these have made the shape of the roof and the roof to be attached to this long gone. And don't get bogged down in, oh gosh, I've only got eight stones going down. Not room for, not actually there are ten or whatever. And getting the impression of the stone work and a feel for the stone work rather than getting every last little bit of stone absolutely correct. Get those bits of light and shade in there. You might want to use some crosshatching, forgetting some shadows in. And actually I'm just looking at this stone now it's very, very, if you look at the edges of the stone, you can see the lines of the structure of the stone itself. So just a few of those on as well. Make it a lot more interesting. And some just in areas just let you pen, do a little bit of blocking and making some dark tones. Okay, so I'm going to go ahead now and do this. I'm going to spend a lot of time doing the stone work and getting that really nice and a nice for you for this old building. And then very loosely put some lines in around the rest of it. Once you relatively happy with your drawing and before you progress to doing the painting, just stop and have a bit of a thing. Can a look, see at where you might want to alter things or put some more darks in maybe. And so you'll notice what I do, my technique and we all have different drawing techniques and that is a very individual thing. And I draw the form of the stones and everything first and then afterwards, I'll put a little bit of shadow over the top just with some very light crosshatching. So we can see that it's much darker under here where the edge of those stones is cached, casting a shadow. So you can just lightly get some shadows in under here where they Linton from the dough is casting a shadow. Just by putting some crosshatching. Now it does seem a bit skewed here, but it is if we look at this line here that's coming right out and this one's coming in. And it's of course it's falling down. It's not going to be exactly straight. So it doesn't sort of play with your eye a little bit because you think, oh gosh, that's not right as you draw in it, but when you look back at your measurements, which is why we have those measurements in the first place is to give us that confidence. And, you know, it is right? It's just that it's actually falling down. So here there's a lot of shadow here and along here. And you can say, I think the buildings cracking there. And the buildings also cracking quite a bit here and here. So it's only a matter of time before actually disappears. And the other thing I noticed as I was drawing that line of the pencil to work too. But actually there are some things that come outside that line. New Muslim be frightened to break that line. But if you look at the line here, that's the line of the roof. These few stones here are actually behind the, some sort of another structure behind, or it might be just a pile of rocks or something, but there is that's the line of the revenues that behind. So these are things you notice as you go along and get these nice shapes here where it's sort of sticking up into the sky. Because when you get the sky behind, that's going to really make that does show, suspend a little bit of time, perhaps put in some extra dark areas in. You'll notice I've kept this very, very loose, this grass. I stood up to do the grass because I wanted to get some movement in. So when you're doing grass, don't have it all in the same direction. And that is going to look too uniform. Grass crisscrosses, make sure you get some going in different directions. But again, reinforce those lines that we talked about taking your eye. And so you've got a bit of a path there. So just think about all that and keep it nice and loose. You might want to put a little bit of extra detail in the foreground, grasses and reads because they are much nearer to us but don't carry on, put in loads and loads of detail in and distracting from the building. And we've actually got a little bit of a rise in the hill layer and then this comes out of there. So again, don't get bogged down in doing loads and loads of detail there, that is going to be enough. 5. Wax resist: And the last thing I'm going to do before I put the paint on is actually puts a bit of a wax resist on some of these stones here where I want the paper to be completely white to get those highlights. The problem with waxes, once it's gone, you can't take it off. So you've got to be very confident with it. If you're not quite as confident about where you put in it. And one thing you could do is use masking fluid, which you could then after you've removed that, you could add paint to if it was in the wrong place so that you can reverse that. But the other thing is just to leave that bit of paper dry where you want it to be the widest. But I just wanted to put a little bit of a wax resist so that I don't lose. And those nice white bits there on those stones, but just a little bit on each stone. I'm not covering the whole stone. This is just some highlights. Like you say, it's midsummer scope a bit. So here It's midsummer and the light is bouncing around. And because the stones are wet and shiny, although it's rain in the still getting, catching those highlights and I want to get that fail. So let's just put a little bit of wax resist, but not too much. So don't overdo highlights. That's the main thing about highlights is not to overdo them. If you have wax and you don't have to, this is a wax pastel, but you could use a Children's Crayola or something like that. You can use a candle and a white wax candle does exactly the same thing, but just be, you have to be confident about where it's going because you can't take it off. So that's just one thing to think. So less is more. Just do a few little bits. Okay, so once you're happy with that, and we've got rid of all our maps with the pencil. We can go on and think about doing the painting. 6. Background colours: Before we start putting any paint on the paper, we need to look at the colors and think about what we're going to do. But don't forget you've got artistic license. We all see colors differently. And if you want to brighten things up or even make them more muted, That's entirely up to you. It's your painting. You choose how you want to go with it. So we've got a very soft gray color here. And then you can slightly see a hint of green in here and a hint of blue in the Lake, Reservoir other, but you really don't want to have lots of color. Like I said before, we want this to be very, very simple. So I'm going to make one gray and then slightly adjusted to make the other shapes that are in here. And I'm going to let the first layer dry completely before I put those others on the top. So we'll start by making a gray. And grays are very easy to make from your three primary colors. So to mix up mucosa got nice big brush that see this is a size 10 and it's around one. And I've got some nice clean water. So water nice and clean and will make the main gray because we're going to need quite a bit of it took over this whole sky area in this center well here of the palate. Don't worry if you've not got a palette, you can use anything to hand. And a white plate is handy. Awesome food containers maybe just make sure it's white because your colors will look different on a colored palettes. So make sure it's a nice white palette. So gray is made up of the three primaries. There is another skill share costs are added do about doing grays and browns. So if you want to have a look at that, you can do too. And so we're going to use this yellow, which is I think it's a raw sienna, that one, this is Janelia paints. They're a little bit brighter than milder. Winsor Newton set that, I've got. It just depends on which colors you choose to put in them. This is one that I take out and about with me. And they're actually bound with wholeness of the nice and bright Chris colors somehow really crisp against the PE paper. So plenty of yellow there. And then a touch of blue. And it really doesn't matter which of your three primaries you use as long as you use the same ones throughout. And then you get a nice feel. Cheap paints in a bit. All being harmonious is the word I'm looking for. Okay, so you see you've got your yellow and the blue is mechanized green color there. And to make it gray, we need to add some red and this sets got a lot of reds in, but I'm gonna go with this one which is a bit like an alizarin account. Remember the names of all these, the very different to names of the Winsor Newton ones that are used more often. They're actually French manufacturers. But do have them written down somewhere. Like I say, don't worry about using the same colors as me. It's the fact that you've got your three primaries and you mix up a nice gray. And I can actually see it being craft pinky gray rather than a yellow one. Someone put an extra bit of red and just be careful when you actually read two mixes. It's much stronger than usually quite a bit stronger than your other colors. So bit more red and a bit more blue, I think it seems very yellow. This makes it the minutes and me. Don't forget with watercolor, the white is coming from your paper. So this is why we need lots and lots of water in here to allow the white to shine through the paint, which is going to make that more gray and lighter as well. I don't think I'm getting there now. Maybe another little touch of red. Mix in a cake or something. You just keep adjusting the quantities to get it just right. And you see how that's altered considerably as we've gone along. Still a little bit brown. If it's looking to brown, that means there's more red and yellow than the race. Blue, so-called extra balloon. And I think we'll get in there now without being a nice gray. Just a little bit more than I think we're about there. And I might even put an extra bit of water in there. I would say it's just a touch of color in the sky. There's hardly anything there is nearly white, so it needs to be very, very wet. And again, that comes back to what we're saying about the paper. A little bit more red, needing to absorb that water. Okay. So when do you use those same three colors in a slightly thicker quantities for a bit of water in there for the features that we're seeing. So for the water will have more blue. And we're not needing a lot of this because it's not a big area. Touch of red. And I search of yellow. Far too much red in there. Can you see it? That's very purple. So we need extra blue. And these colors on your palette because they might come in handy for later on for the foreground as well. Just check in that color up there. It needs to be a bit bluer than that on it probably needs because we've added so much bigger than their opponent is a little bit of extra water in as well. And the next one along are going to make greeny color. So again, start with the blue. And this time we won't, we put too much red in, plenty of yellow in. We won't put any reading at all. We'll make that a green rather than a gray. And the other colors we've got in the foreground is done, if you can say here, it's a little bit more yellow. The color of this mountain at the back here, very pale gray. We'll probably put another layer that on top for that one. So just a little bit of more of a brown color in the tiny bit of red, a little bit of blue. As more of a brown gray than a gray Graham just going to put extra blue in there. I'm not happy with that one being a little bit too red. Okay, So that should be enough to be going home with like say there is a course on creating grays and browns from your three primary colors. Don't worry about what three primary colors have a bit of a play around with them. Find something that you like. Go with the more earthy ketones for your yellows if you count, he kept me in one's going to pop out too much. But then again, like I said, it's individually, It's entirely up to you. So have a bit of a play at choosing your grays, nice and soft, lots of water. Before we start this next step. 7. First wash: One of the problems we have with watercolor is how quickly the water dries on the paper or doesn't dry on the paper. So it's all very trial and error and practice with water colors a lot depends on how much water your brush holds, how much water the paper holds, and how warm the room is as well. And how much water you're actually put it on your brush. So there's so many things that are different for all of those. And your remapping warmer than mine and your paper might be trying out a lot quicker so you can't just copy exactly what I'm doing. You're going to have to with watercolor, just be guided a little bit by your trial and error. And this is why it's good with watercolor to do a little bit every day. Really familiarize yourself with both your paints, your brushes, and your papers so that you get used to knowing how much water your materials require. The clue is in the name with watercolor, it's all about the levels of water that we're using. So are started, they will say I was talking about application, not really talking about what I was doing. I've wet the paper behind the foreground, so this is all still dry and I've gone around and I've used a nice big brush so that it's not drying out too quickly. You use this brush to wet all this by the time you got to this end, that would already be trying. So use a nice, decent size brush. It's going to hold plenty of water to get that evenly spread. And it should just have a nice Gleason to it. Okay, And then load your brush with this lovely gray color. And because it's very wet on the paper, the paper is wet as well. It should just all sort of diffuse out into the paper and be nice and soft. And it's a merest hint of color. By the time it dries, watercolors dry, about 50 percent lighter than the go on. By the time it dries, it'll be just a tiny, tiny touch of color. Again, use a nice big brush so that you can work quickly. Move your arm right the way across the paper. Make nice big strokes. Don't rely on things dry out and ended up with lines and things really quickly and then allow it to sink into the paper. Don't fiddle with it now, just let it all sink down. And we're going to leave that to completely dry before we do anything else. So go and I often have your launch go for a walk or whatever, Let's say completely dried. Do not be tempted to fiddle with it at this stage. 8. Painting the background: So that is now completely dry. You can check with the back of your hand. Never checked with the front of your hand. You do have oil in your fingers that might damage the paper, then they've greased that the paint won't stick to. So you can see that that's very, very light touch of color. There's hardly any color in that at all. You can only really tell where it meets the white. They've got the white shining through because of course, it would like to say it was raining and it's a very dreary day back there. So the next thing I'm going to do is this hill here. And you can just about see the outline. You can't see very faintly see the outline of the back ones here. Um, but when you can't see them, you don't want to imagine them just, just only pay what you can actually see well with the naked eye. So I'm going to use exactly the same mix, but this time I'm not going to wet the paper first. I'm just going to get that last line that we can see that. And as it goes up here, you don't see it as much and you can't see the shape of the halo here. It's just this little bit here that you can really tell. And again, this will dry lighter muck around the edge there and again down to the top of there. And what I'm going to do whilst that's still damp, I'm going to get a brush, squeeze any excess water out of it so that it's just damp and not too wet. And I'm just going to soften that edge. Once you get past here, the spear here just soften it with a little bit of water, but not a lot. And that is enough. Just tease out a little bit there as well, just to make it a less harsh lines so it's disappearing off into the distance. And we don't actually know where the edge of that hill is. And that's going to look different again once it's dry. But we can still see that little bit of a line that we can see here. And that's bringing the eye a little bit down. So we'll leave that to dry a little, maybe not completely, but we'll leave that to dry and we'll look at this side here. And again, we've got that going down. And what we're gonna do on that side. We've got quite a sharp line here. It's quite steep hill and it doesn't go further back, but we can't see it further back. So we'll just pop some lines in there about hail going down. And you'll see when you look at the photograph itself, what I mean by these lines that you can say here. And again, I'm gonna get the brush and now squeeze the water out so it's nice clean water. Keep changing your water. So you've got nice clean water for doing jobs like this. And you don't want to be introduced in any more water to that because if you do, it will flood into this area and you'll end up with a mess. So that must be just a damp brush, not a wet brush. I'm just going to tease out the religion. We're going back too much into that, but I'm just teasing a little bit. Okay. And it look different again once it's dry. Now then. So we've got this color that we had earlier and are you'll see I'm getting a smaller brush and this is thicker than the pain that we've already got. So it won't sort of disappear right here. It'll stay in the areas that you just pop it in. And what we're doing is we're pop in, in color into that water. We're not really painting or allowing it to move around. So just pop a little bit of that brown color in there. And that's going to give you that little impression of that hill behind there. So this side still a little bit Dam, which is fine. And I'm going to I'm just wondering how much of this detail here can you see we've got a little bit of detail of the edge of the lake reservoir. Rather keep calling a lake and it's not, it's a reservoir. And we can actually see the fields that we hear about. Don't want to start putting all that detail in. I just want to keep it loose like a half here. So we'll pull those green trees in. And I'm actually going to mix that with that looser mix. Get a little bit more water into that and make it nice and faint. And they are about here somewhere. And again, I'm going to pop them down there. You're a block of trees. And then I'm going to soften that edge off with the brush and just let it blend in. And then we've got the water. Now the water is tricky one because it's this blue but it's very, very light. Wet. Someone who had a little bit extra water to that triangular shape, something else it is because you can't see the shape there. And again, I'm going to touch that top edge with a little bit of damp just to soften it. And at this stage, if you want to take a little bit of light out, it can do. Just so you've got a variety in there. So that's where the dry brush dry brush and just take a little bit of the paint off, just gives a bit of an edge to it. And you can do the same in the trees actually if you wanted to have a top on the trace. Okay, So how much of this so we're going to put in, I think we've got this green. I want to mix that with a tiny little bit where my paint tiny little bit of extra yellow. And you'll see what I mean by this, this yellow. And you look at this more closely yourself. And we're just going to put that they're leaving a little gap because isn't very light area around the reservoir. And then again to soften it off and let it melt into that color that's already there. And if you want it again, you can live bits out. Make it look a little bit more interesting. Now when that dries, That's going to look completely different. You want, you can pick a little bit of cholera. This is barely anything. This brush, this brush is a dry brush and we're just sort of moving things around very, very gently. Ok. Now, once that's dry, it will be a lot lighter. I'm just looking at this legged all its needs got a little bit of shadow. On this side. I'm just going to drop extra color and whilst it's wet. But I'm being tempted now to obtain much detail because like I said before, the photograph does pick up more detail than I would perhaps want to add. The same with the green. I'm just going to pop that name because the green is in front of the blue there. Okay, and now I'm going to leave it because I'm tempted now to fiddle too much. So I'm going to completely leave that. I've just been having to rethink and looking more closely, I know that there's some hills here. You perhaps don't, but I know that there's more hills here and you can't see that faint line. And because I know the area and I think it's not looking quite right. I'm just going to wet because you can barely, barely see. I'm just going to wet a little area here. You can see that line. I'm just going to pop a tiny, tiny bit of that gray into that and let it move around in that wet. And that will be really nice and faint. Don't come right down to the building because it's quite nice to have that light behind the building as well. And just touch up here, here and there. Because a lot of this is hail rather than sky. And I think that just makes it a little bit more convincing. Okay, So we'll leave all that to completely dry before we come on to doing anything in the foreground. 9. Painting the foreground part 1: When mixing your foreground close, don't forget that we're still doing an ink and wash your line and wash where the emphasis is on the drawing, not the painting. So we don't want loads and loads of colors and it being too thick and too busy, we still want to keep a light to it. You may still want the paper to shine through, which is what watercolor is all about. So don't go overboard with making your close too thick. So we can use the colors that we had from before, because by bringing the background cause into the foreground we're going to make a hormone is painting, but we'd need more pigments in, and we need them to be slightly brighter. So let's make some green, punchy green, like I said, it's mid-summer. So nice, yellow, green rather than too much blue. If we look in the foreground here, we've got lots of nice bright yellow greens. And then we'll make an even brighter green by using a brighter yellow. So we'll use a mole, cadmium yellow. And again, there's time that's going to bring things forward. So much, much brighter. And we've got some brighter greens down here, but it looks a little bit more natural. And when your greens look a little bit unnatural, just proper bit of red in them. Reds on the opposite side of the color wheel, and it will just make them a little bit more natural looking. Teachers change my water. It's a good idea to keep changing your world from just put in some extra yellow in there as well. And then the tips of these are brown. We've got some brown or ready. We've got some bits of like and, and things from yellows on here. So I think I want to make a wash, quite a loose swash, plenty of water. With the yellow. To begin with, that we can perhaps wash over quite a big area, but again, that's just going to be very wet and I'm very loose. So again, I'm going to wet quite a large area. I'm going to wet everything around the building and those bits of grass there to the doorway and on the side there and just leave the building not wet. This is why you need this to be more or less dry. You see there that green wasn't just completely dry. But if you have this wet at this stage is going to, the colors are going to flow back down and you could end up with spoiling things. So just again, a nice big brush. And you make in your paper damp you not making it swim with water. And you don't need to worry about going over the margins because when you come to put your frame on or your mountain up, those bits at the edge, economy covered. Ok. So once you've done that, there's yellow that we made. Let's put it everywhere and make this a nice warm foreground, which he's gotta make this come further forward than the background there. And whilst this is wet, very carefully, we'll get a smaller brush and we'll just drop some color Zane. So not painting which was dropping colors in and letting them move around. So this is about a size 8 brush. And this is the sort of yellowy green, if you like, and follow some of those lines. Like say we're not painting, we're dropping it and we've got that line, that line coming up here. Lets you not pay, pay. Move around on the paper, lesson it do its own thing. Keeping it quiet loose. And leave some of that older yellow. Don't cover the whole thing. And then we'll get this green and pop that in. Some green coming down from this rock. So make sure you leave your rock a little bit. This is a nice big patch of greeny grass here. We do on these grains in because it is summer. We don't want it to look like he's too wintery. And if you're worried about Green's looking on natural, like I said, just pop a little bit of extra reading and knock them back of it. So there's lovely and wet and it's just all gonna blend into each other and look quite loose and impressionistic. Which is what we've got with the lines that we put in earlier. Okay, that's probably enough for the green and the rock color. I'm going to get the grade that we had earlier that we used in the water and things and just popped up a little bit on the rock. And here as well. So this is without subsidy gone up into that rock. So what we can do there, It's just lift a bit of color out that things merge and move around themselves. And we don't need lots of detail in there because we're going to have that afterwards with with the building. But I'm just going to go a little bit straight from the pan at which you can do when it says wet as it says, And just going to pop actually little bits of light on top of some of these graphs. Again, that's going to bring things forward. So when you work in wet, in wet, it's going to work as long as the next layer of paint that you put on is thicker than the last. So more paint and less water. So taking it straight from the pan law that, and let teenagers melding, going to make it a little bit brighter, but it's not going to be two dominant because you've got all that water in that it's just going to all settle down into okay. And again, we need to leave that to dry. Actually, before we leave that to dry, I'm just going to pick that brown color up. These here. Just got brown all along the tips. So I'm just going to pop a little bit of that brown in. So when you make in a brown out to you three primaries, you just basically adding more of the red and yellow and less of the ALU. And actually that helps get some different tones. And if we just pop a bit everywhere else as well, not everywhere else but here in there. And it just made some darker tones and give us a bit of variety. Okay, so we're going to leave that now to dry. 10. Painting the foreground part 2: Now the final part of the paint in the building. And again, I've got some nice clean water, so that would often change in our water so that it's nice, fresh colors and the papers come in through that. We haven't gone in muddy water. So I'm just going to gently wet though all that stone work. We've already got the shadows in with the pen so we don't really need to worry too much about that. This is just add in a light touch of color and Latin. Those lines come through. If you've gone really, really thick paint on here with not very much water and lots of pigment. You're going to obliterate Literally lines of your drawing. Okay, so it's a softer gray than the sum of these grays here. It's more of a yellow, gray, yellow and red, and almost brown. So this one probably work if I just for a little bit of extra blue in it. So rather than wasting paint, just use the ones that you've got ready-made up. And you'll see as I'm applying that, that it's not sticking to those little highlighted areas where I put the wax resist. Now, if you didn't use the wax resist or you need to do is be more careful in May and leave those areas of paper dry and paint around them. People often ask about highlights. And really one of the easiest way to create your highlights is just to keep that paper dry. Because if your paper is dry, the paint isn't going to flow into it. Okay, so that's looking quite nice. Dark cola, cola, cola. And I think we need a little bit of yellow here and for those bits of mosses and lichens and things. So we'll get this, the comics here that we had and just pop it where we can say there's more actually all around this corner here in the top of this roof and just do it while it's wet and let those bleed together again. Top of this lintels actually quite yellow and not shape there. If you can see this stone here is quite interesting. It's a subversive been a beam, the end of a beam that's gone right through the parts of the building there. So how much detail again, you put on here with the colorism to you, but really just be careful that you do not obliterate that drawing that you've got there. This color here, the stone here was a little bit lighter. So at this stage actually I'll get a smaller brush if you did want to bring more highlights out or makes one or two of the stones look a different color or shade. You could just get damp brush and just lift. So your dry brush and just lift bits of color out here and there. And that's just gonna give you a little bit of variety. Let's make it a bit more interesting. Okay? On the here actually the light seems to be getting through to that bit behind the dog so that we think that that's the in this place here is the inside. One thing we didn't notice. It was going to say there's a poll liabilities and it's where I've been drawing on it. And we're going to get a little bit of the green because actually when this muscle here, and I think at that point, we should probably leave it before we spoil it. I doing too much. If you feel it's not got enough coloring once it's dried, you can always come back on top with extra of these colors that you've already used, that more of the gray, et cetera. But I think for me that's enough. I feel I need a little bit more color in here. Or shape, should I say here? I'm just going to pop a little bit of extra yellow there. And put I could go on fiddling and this is the thing. Don't don't be fiddling. Okay. So I think I'm going to call it a day at Latin, leave it to dry, but then of course you can come back afterwards and Think, Do you want to add anything? And you can't do that, and that's a good thing. We bought clothes, you can build them up if you want it to be slightly thicker and failing here now that this big patch here is much darker in tone, let me just do that now. Put some extra green here. Just use what we call is around your palate. Don't go. Don't go. Wasting loads of paint. And a teeny tiny touch of yellow and red. For those orange tips to those grasses or two, they are. And let's just tease out in slightly. You can see, you can go on out in building color because once it dries, it dries so much lighter that you might feel in Asia sort of build those causal but a little bit more and you can do that as long as you remember that when you're painting on payments already, painted over the top, just think about that. You're painting on glass. You don't want to be scrubbing away, lifting your pen color that's already there. You want to be just gently put in close over the top of it. Very, very lightly. So here and which are in now, and I'm getting distracted, but here I feel we need more qualitative. That's to this little corner here to bring the eye towards the building. Okay. So we'll leave that to dry now. 11. Conclusion : Okay, So I think that concludes everything Arctic. Go back a little bit into that painting after it dried and put a little bit more shade and detail on just with the paints that are still had left on the palette. So don't be too quick to wash you polytope. You might come back to you picture the next day and think, Oh, you just want to tweak some things so you still got the same coolers. He's going to keep the whole thing harmonious unit I'm going to start mixing molecule is, so it's always good thing to have plenty of color mixed up in the first place. So I really look forward to seeing your work. Like I said in my introduction, if you want to have a goal knows all the photographs that I've uploaded, please do. If there's any questions that you have attended point, just get in touch with me. You can get in touch with me on Instagram Messenger. You can get in touch with me here on Skillshare or start a discussion with other Skillshare students in the discussion section. And that's, that's actually quite nice. And also look at each other's work and comment on that because you will find that the role all different. So thank you very much for doing this Skillshare course. I hope you've enjoyed it and I will be back again soon with more Skillshare courses. In the meantime, if there's anything you don't trust me, like I said, please do. But also if there's a particular course that you would like me to do, if there's something that I haven't touched on. As I said earlier, I have got another Skillshare course on the mixing of those grays and browns, which is quite sort of useful for landscapes. Those of you that want to do a lot of landscapes, particularly V2 in buildings and rocks and things. You might want to have a look at that cost of mixing those grays and browns. So although now I think that's everything I really look forward to seeing your work and I'll be back with you again soon. Bye Bye for now.