Learn To Paint Watercolor Mountain Landscapes in Six Different Ways | Geethu Chandramohan | Skillshare

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Learn To Paint Watercolor Mountain Landscapes in Six Different Ways

teacher avatar Geethu Chandramohan, Colourfulmystique - Watercolor Artist

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

Watch this class and thousands more

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

Lessons in This Class

19 Lessons (1h 26m)
    • 1. Introduction

      1:25
    • 2. Art Supplies

      5:14
    • 3. Colour Values & Their Importance

      2:22
    • 4. Techniques Part 1 - Wet on Dry Mountains

      4:08
    • 5. Techniques Part 2 - Wet on Wet Mountains

      3:13
    • 6. Techniques Part 3 - Dry Brush Method

      2:08
    • 7. Techniques Part 4 - Spring Mountains

      5:41
    • 8. Techniques Part 5 - Using Masking Fluid

      4:56
    • 9. Techniques Part 6 - Using White Gouache

      3:50
    • 10. Quick Tips & Recap

      0:56
    • 11. Winter Mountains - Part 1: The Sky

      6:06
    • 12. Winter Mountains - Part 2: The First Layer

      6:37
    • 13. Winter Mountains - Part 3: The Details

      7:25
    • 14. Winter Mountains - Part 4: The Shadow & Final Details

      9:00
    • 15. Spring Mountains - Part 1: The Sky

      4:52
    • 16. Spring Mountains - Part 2: The First Layer

      5:58
    • 17. Spring Mountains - Part 3: Adding Details

      9:36
    • 18. Spring Mountains - Part 4: Foreground Rocks

      1:34
    • 19. Final Thoughts

      0:51
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About This Class

This class will help you to master painting mountain landscapes with watercolors. Beginner, intermediate or expert, anyone can take this class. This class is designed in such a way that you will learn through the different watercolor techniques (wet on wet, wet on dry, dry brush technique and many more!) and paint mountains using those techniques. There are two class projects to paint beautiful mountain landscape.

At the end of this class, painting watercolor mountains will be an easy task for you and you would emerge satisfied with the beautiful masterpiece that you have created. 

Background music: https://www.bensound.com

Meet Your Teacher

Teacher Profile Image

Geethu Chandramohan

Colourfulmystique - Watercolor Artist

Teacher

Every one us dream of travelling the world, exploring new places and cities and capturing those spectacular moments in our memories. Welcome to the first of a series of classes on painting cityscapes and urban landscapes. You are going to tread on an exceptional journey into painting the places in your dreams. We start the series with learning all the elements that make up a cityscape or urban landscape such as buildings, cars, street lamps, lights, people and anything and everything that you can think of and then head over to 6 gorgeous cityscape class projects.

1. Elements of Cityscapes and Urban Landscapes

2. Perspective - Painting Cityscapes and Urban Landscapes with Watercolours

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Transcripts

1. Introduction: Hi friends. I'm g toe on artist and illustrator from Cochin, India on I live in the UK With my husband You might know me from Instagram as colorful mystic. My instagram profile is where I post pictures on time lapse videos off all my paintings in this girl share class, we will be learning six different techniques to paint watercolor mountains. I have also included two class projects where you will learn through step by step instructions to paint to be beautiful mountain landscapes. This winter landscape and this gorgeous, serene mountain landscape, which shows the transition from winter to spring mountain landscapes, are one of the moons. Delegate at most interesting subjects in watercolors on one. To master them, you will be able to paint in mountain landscapes from a reference picture. I'm sure that at the end of this glass you will be able to master all the different techniques to pained water gonna mountains. I have also included two radios focused on painting the sky in watercolor landscapes. So, without any bother dealing, let's jump into the next lesson that I'll be telling you all the art supplies that you need for this class. 2. Art Supplies: I will not tell you all the art supplies that you will need for this class. First of all, you believe watercolor paper I will be using to drop it rough 440 gs on watercolor paper for this class. This is because of the really nice texture that this paper has caught. But you can also use any other watercolor paper that you might have, such as this one. This is Archie's 300 GSM all £140 gold press paper. So these are 100% cotton paper, and I would really recommend 100% cotton paper for this class. Then using watercolors always go for the paper, which has minimum 300 years and wait at the visor paper will start warping or bending, and you had multiple layers on your painting. So this is an a three size paper, but you can go for smaller size, such as any fool or even in a five. I will be doing both my paintings on this paper, but you can go for the smaller sizes next, even need a pencil on DNA. Raisa, to do the job sketches in your painting. I mostly use a mechanical pencil like this one because it doesn't need any sharpening, and I only have to replace the lead in it. But you can use any other pencil that you may have watercolor brushes. You will need a flat brush on pointed round brushes off various sizes. For this class, I will be using a 3/4 inch, one stroke or flat brush from Dale Arani, a sized well size eight and size four brushes from silver black velvet cities. So these are squiggle hair brushes and is one of the best brushes that I have. You still date it, holds a lot of water and paint and comes to a really nice point. But don't worry about using the exact same rushes that I'm using here. Use any brushes that you have. All you need is a large round brush on a smaller one. To do the detail ing next is off course watercolor pains. So this is my custom made palette off watercolors, but I have glued together pants from our philosophical. On bright nights, the full pants are from white nights on behalf bands. From our philosophical, I have chosen the colors that I mostly use and glued them together because that way it is easy for me to carry around and do my travel paintings. But we won't be needing all these colors. Today. We only need eight shades of colors. Andi sheets are right blue ultramarine, blue sap, green green, sepia bain, skidded raw hamburger and bun seeinya on. You can use any of your favorite brand of watercolors, which may be in Dube's opens. Next, you will need ballots to mix your paint. I mostly used ceramic ballots for my paintings because it's so easy to use and makes the pain's really been a supposed to these plastic ones. For today's class, I will be using these ceramic balls, which has got keep events, and thus it is easy for me to mix separate colors on these. You will also need to jobs off water, one for washing off pain from your brushes and the other to take fresh, clear water for new pinks, and also for applying onto your paper for the bet on that technique. If you don't use two jars off water, the fresh paint that you pick up will mix with the dirty water from the previous pings on form. Really Modica less, which is why we using two jobs of water, and that is always the ideal scenario. Some tissues to dry out your brushes and to remove excess water from both your brushes and paper. You will also need masking fluid for the fifth technique that we will learn. This is a masking fluid from Windsor and Newton, but you will need a masking fluid rush or a masking fluid applicator. To use this one, I use one of my old brushes for applying this mosque in fluid, But in this class I will be using a masking fluid pen from Moloto because it's a pen and I can simply draw on the areas that I need masking. And lastly, you will need masking tape to tape down your paper to prevent it from warping or bending. Also, taping down your paper will prevent and hold the paper firmly onto the surface where you're painting so that it does not move. But please don't be worried if you don't have the exact art supplies that I have. Let's just have a wonderful learning session ahead 3. Colour Values & Their Importance: France. Let us learn about the colors that we need for the mountains on their characteristics. We will be watching out the colors on this paper using paint. Scrape. This is the darker stool off the color there straight out of the pan, or to be very less water in it. You can see how Dr Shady's now we add a bit more water into it and swatch the next shed. We keep on adding more and more water to it so that we get the lighter and lighter shades off this color pain screen. This technique will also help you to understand the tonal values of each of the colors that you have. At the end of this we do. I will explain the significance off the different tonal values of the color views and how visually we can represent different subjects in watercolors, adding a bit more water to the previous shade that we squashed. We get an even more lighter shade. It is not about having a large quantity of water on the brush, but rather mixing more and more water to the color on your palate. You can see here that after adding water each time to everybody vitiate. I have obtained a light. Does she ate done before? See the range of colors obtained with just one color pain screen. Now I'm going to teach you some important things regarding tonal values in a painting. The subjects that are closer to you will be having target wretches or tunes on the subjects that are far away. We'll have lighter shades so you can see here that the shades that are on the top are the subjects that are closer to you, from the horizon, on the shades at the bottom for things that are far away. Actually, I should have held the paper like this because this is the ideal representation of how the color should be. Keystones indicate the shades of the detail ing that you would do on a painting. The darker values represent details on, the more further be the subject is the less detailed it would be and us. It will be represented by lighter tones before starting a painting. Understanding the tonal values of different subjects in the painting is very important 4. Techniques Part 1 - Wet on Dry Mountains: I have to state down the paper so that it does not move around. The first technique that we're going to try is wet on dry technique. So first I'll make a rough sketch of the mountains with my pencil. Then we take pains, create and start applying onto the mountain sketch that we just need. Make very random strokes way. You can make this irregular strokes. Leave us much white spaces as you can, and just make these random strokes with your brush. Because it's a small mountain. I'm using my size full brush here. There is no specific rule as to how you should put those lines onto paper. Just make irregular strokes better. You want them to be note that the paint is really diluted and we using the medium tone from the tunnels. Watch that we did a level pain screen, but do not load up your brush with a lot of water. Your brush needs to be only moist or wet, and you pick up the paint on your palate. These are ice capped mountains, as you might have understood by now, So the white part of the paper is the ice cap part or the snow on the mountains on the black or the Paynes Grey part is where the rocky part of the mountainous, which is visible through the ice or the snow. You can see here how sometimes I paint along the lines of my pencil sketch on. Sometimes I don't don't be stressed out about the bends and sketch of the mountains. Just add a bit off uneven beaks, some which are large. Some are just more on. They do not need to be at the same level. I do not want the entire peak of the mountain to be covered in snow, so I leave a lot of white spaces observed that there is no definite rule as to how you should put the brush stroke on the paper. I'm just making irregular shapes wherever I want. Now I'm going to apply a bit off sap green to the bottom part of the mountain, to bring a bit of color into this painting and to represent the areas where the snow hasn't fallen as before. You only need to make irregular shapes. Now we take pains great again, but this time a darker toned on the one we used previously start applying onto the top off the first layer, but again, these need to be only random strokes at some places. Leave the lighter tone off the Paynes grey as cities this darker value off pains craze. Actually, what would give your mountains a visible shadow effect? This represents the darker parts off the Rocky Mountain. This is because the rocks on those mountains are the surface of the mountains are not really flat. The surface of the mountain has texture on, depending on how light falls on these mountains, we see the texture as different tones off the color pain screen. I am applying the darker tone on top off the first layer, but I'm also leaving that first layer in the background so that it will appear. Is it? My mountains has some texture. I'm fast forwarding this. We do a bit over here, but remember that you can always decrease the speed of the video in school share. We will also apply a darker shade of the green onto the first layer so that we give a bit of the shadow on the green part of the mountainous well 5. Techniques Part 2 - Wet on Wet Mountains: the next technique that we're going to learn as mountains with wet on wet technique. So let us sketch a random shape off the mountain again. On this time, I did it a bit differently just to show you that it can be done in any way that you want. This technique is called wet on wet technique, which means that the paper should be first vet before we add any color onto it. Apply Clearwater along the inside lines of the mountain. Make sure that the water does not form any lumps on the paper and that it is evenly distributed. You can see clearly how much water I have applied over here. Now let us take pains great and use the same random strokes that we used on the vet on right technique. Here. You can see that as soon as you touch the brush loaded with paint onto the paper, the pain starts to spread out, and this is exactly what it's called us. Wet on wet technique. Paint the rocky part of the mountain with this technique. Let the pain flow on. Don't be worried as to how it spreads. That's exactly what we want again. the white part represents the snow and the pain. Scree represent the rocky part of the mountain. Now on to the next layer, we will use a darker shade of the pain screen that we just used a light onto the top off the Payne's gray that be adjusted. Remember, your paper has to be still that this is where the importance of good quality watercolor paper comes in. If her watercolor paper that has got good court and content in it, the new paper will remain Rhett or Morris for a longer duration of time. It is totally all right. If your paper has dried up after the first layer and that it is not moist anymore, you will still be creating wonderful mountains because now we'll be using bet on dry technique because your paper has tried and you're using that pains on top of it, I'm going to create some shadows on this mountain. My paper is still bet. So I take some ultra marine blue, and I'm applying it onto the sites off the rocky parts that I have painted. Every stroke is done while the paper is wet, and hence this technique is called us wet on wet technique. Fill in the gaps where you feel you need to add the shadows and your vet on vet mountains are done. 6. Techniques Part 3 - Dry Brush Method: let us now move on to the third technique for painting watercolor mountains sketched around them, shape of hormones and again with your pencil. This technique is called dry brush technique. This is because we will be using a dry brush for this technique. So first dry brush on a piece of Clute or tissue totally that the paint on the brush and start applying onto the paper as you start applying on the paper, even see that these textures are formed. This is because the brush is really dry and the pain does not have enough water on it to flow. If the paper is a rough paper which has got good texture on it, it will also add onto your dry brush technique. This is because the dry paint will not flow into the post of the paper and we will get small dots which are clustered together, which we are device cannot obtain again. We're going to use random strokes, and there is no definite rule as to how you should apply these trucks. Leave as many white spaces as you want, and make sure to hold the brush at a 30 degree angle to the paper on, just sweep across it to get that dry brush effect. It is always the shadows that gives your painting a sense of depth, a sense of reality. So I'm taking a darker shade off the pain screen and applying it on top off the layer that we just painted. We're applying it only at random places and making sure to remember that we leave the first layer at some places. As it is, he's in the dry brush technique. Really simple. The third type of mountain techniques is done now. 7. Techniques Part 4 - Spring Mountains: next we will learn a very different type of mountain. This is a mountain which is half green and half rocky. So let us go ahead and make the sketch off the mountain. Which happens. Yeah, we're going to use a combination off the techniques that we just learned. So first, start with sap green paint at the bottom part of the mountain Here, A plan s Mosab green paint as you want, and leave only very little white spaces. The white spaces in this mountain represents the lighter part off the grasslands at the bottom where the light is falling on it. Or it could even represent the large chunks of ice that is yet to melt. As the spring starts keep applying more and more sap green paint. This would make the mountains a bit more darker and give it a sense of depth. Adding more layers also increases the vibrancy of the painting. No, let us you set there for the rocky part off the mountain. Apply the paint along the lines of the sketch that you have made, and also make sure to merge the sepia onto the sap green so that there is no definite line with Iraqi part of the mountain starts at some places. We will use raw sienna to represent the lighter shades of the rocky parts of the mountain. We're using raw sienna because it is somewhat like the lighter shade of the sepia that we have used. But you can also use any of the light plants that you have. Remember that to get a sense of depth and the shadow effect only a painting, all you need to use is a lighter shade on the darker shade of the colors. So if you're using dark drowned, then try using a light brown for the highlights on top of the raw sienna. I'm going to apply a bit of bond, amber or sepia to give it a bit more sense of depth. A darker shade of brown on top off it will definitely give it a shadow effect. I'm adding a bit of the stock chrono Bantam put under the greenish middle part of the mountain so that it appears as if there are some rocks on the spot. Add as much shadows as you want. There is no definitive brushstrokes or lines that you need to apply when you put in these darker strokes. The shadows will form by itself on which would mean the rocks have shaped that you designed way just like we did on the first mountain with the vet on dry technique. Now I'll take some dark green or green from white knights watercolors and apply to the greenish part of the mountain. The mountains are not always flat, they have a texture on it. And to represent this texture, we use a dark green and give it a bit of shadow. Shadows are phone 12 1 SOS release on another. So that is why these Healy small texture parts of the mountain would always cast a shadow on to the bottom part off the mountain on the 1st 3 mountains. Do not be worried about the pencil sketch that will be visible in the white space. Is that do you have left? These will be massed out when you bein the sky. Lastly, I want to show you the difference in watercolor papers. So this is a Saunders. What? A food court Press paper. I'm going to try out the dry brush technique on this so you can see when I'm using the dry brush on this kind of paper. I'm not getting the similar textures to what I get in a rough paper. This is simply because the heart Bruce paper has less texture on it and hence less a number off pose. The paint would simply flow on it. This kind of paper is mostly used for detail ing, whereas rough paper is the best for dry brush technique. See the texture on the rough paper? 8. Techniques Part 5 - Using Masking Fluid: for the masking fluid technique. I'm taping down the paper in a different way. In this we do. We will cover painting watercolor mountains with mask included. First, let us start sketching the mountains again. Observe how I'm sketching these margins. I'm not making any straight lines, but rather just moving around with my pencil, making shaky lines. Next, we will takes a mosque included in my case, masking fluid Ben, which is from Moloto. You can use other mask included, such as this one from Windsor Newton or any other masking fluid you can apply. Mask included. Using any shop of Jack suggests a very old crush, which has appointed dip similar to the brushstrokes that we did. For the first part. Off the paintings, start applying the masking fluid onto your people, making these random strokes and covering different parts off the mountain. Remember that the places where you apply the masking fluid will be the white spaces. So if you want more white spaces on your mountains, that is more snowy. Areas on the mountain apply more masking fluid onto it. It is called masking fluid because you're basically masking the areas where you want to leave it right. Don't be confused with the blue color that is coming out of the spin. Masking fluid can be blue or white in color. Masking fluid is a liquid latex based product. That is, it is a robbery fluid. Applying the robber onto the paper. It prevents the pain from reaching the paper on when you peel it off at the end, it would expose the white areas, and the paint would be formed all around. It also make tiny dots here and there, using the masking fluid. The masking fluid has to dry before you can apply paint over it, so we have to wait for the masking fluid to dry. Now it has bean around five minutes, and the masking fluid hast right. So let us take some pain, scree and start painting on the mountains. This is the easiest technique for painting watercolor mountains. Start painting the whole of the mountain with pain screen and do not worry about leaving any white spaces. Apply Payne's gray all over the sketch that you have just made, even on top of the masking fluid. I am fast forwarding this video from real time a bit over here. If you want. You can play the video in half the speed in skill share from the settings. Once you are done with the first layer of pain screen, take a darker toll of pain screen and apply it at random places. These will be the shadow areas. Keep giving more depth to the mountains and shadows, using a darker Doan off pain screen. Now is the time to remove the masking fluid, but you also have to wait under. The paint is fully try before you can remove the mask included using a razor to rub off the masking fluid from the people. Remember while using them, asking fluid that it may not be compatible with all the watercolor peoples out there. So you should first experiment with the masking fluid by applying. Don't your paper and seeing if it works or not. If it's not, maybe you should use a different kind of watercolor paper. Look at that texture you're getting. Look at that white spaces that you're getting when you rub off the masking fluid. Isn't it easy? Look how your mountain is forming into a very beautiful, snow capped rocky mountain after you have dropped off. The mask included 9. Techniques Part 6 - Using White Gouache: The next technique will be to use white wash paint. This color is titanium, right, which I will be using to paint the snow on the mountain. Let us for sketch the mountain again, taking pain, scared again, even start painting the mountains. This is also a very easy technique because all you have to do in stress filled the whole of the mountain with pain straight, just like you did before with the masking fluid technique. The paper that I'm using is 100% cotton paper, which is why I'm not getting any dark edges when I'm painting with watercolors on this. The previous strokes that I applied using the brushes has not dried when I'm applying the next stroke and they do merge together without forming any dark edges, - we have to wait for the first layer to dry before we can apply gloss paint on top off this layer. You know, this is the ceramic ballad that I normally used with my gosh beaned. Let us know squeeze out a bit of this white wash paint onto the pallet. Don't worry. If you don't have any wash means, you can also use white from watercolors. But remember to use it in a very concentrated value. Now this technique using wash main is exactly opens it to what we have been doing till now . In all the techniques still, now we have been leaving. White spaces are masking out the white spaces, but now we will be painting the white spaces onto these mountains. There is no said rule as to how you should be in those white spaces. Thes five spaces like before, are going to be snowy parts off the mountain. So just sit down and have fun. Painting those fights strokes onto the mountains. Make any irregular or random shapes that you want and enjoy the painting process. If you want to separate out the mountains, you can paint along the lines of the sketch or where the peak of the mountain ends bad layer by layer and add more right. If you want the snow, we part off the mountain to look more white 10. Quick Tips & Recap: let us have a quick recap. Handsome tips met on Reid. Technique is more detailed, more vibrant, and that's applied to paint mountains that are closer to us on clearly visible barras wet on wet technique stretch the pains and thus is a bit less detailed. It's used for painting mountains that are far away from the viewer. Dry brush technique represents a bit more textured. Andi deals mountain. It doesn't go rocky. The rocky green mountain is more vibrant because of the green, and it is used in spring landscapes. Using masking fluid is the most easy technique to do, and also the most areas remain entirely white. Using bike wash pain is supposedto all the other techniques we paint with white on the mountains at the end. 11. Winter Mountains - Part 1: The Sky: Let's start our first class project, as you can see after it down all the poor sites of the people with masking tape, because this would prevent it from warping or bending. Been using a lot of water on the paper. First, let us begin by sketching the outline of the mountain from the reference picture, I have uploaded the reference picture in the resources section for you all. Do you know the best thing about painting from a reference picture is that he was an artist . It's free to change anything in that reference picture. It doesnt subject on the left. You're free to move it to the right or from the right to the left, and you can even delete some portions off the picture. So my whole point ISS When you're trying to sketch this, please don't be worried us to Oh my God, how am I going to get this done? This is a hard sketch. I don't think it like that. You don't have to get the curves of those mountains exactly as it is in the reference picture. The only thing that you need to focus on is to try and get the peaks off those mountains roughly in the same position. It doesn't even have to be the same height as you see in the reference picture, So just try to make a loose sketch off whatever you see and what you can perceive. Additionally, you can even mark the shadow parts of the mountain, just like I have done here. This video is entirely focused on the sky and how we can make it more vibrant. So the first thing that we need to do is to get the paper at the areas where the sky is going to be. So let us supply water onto the paper at the top part off the picture, but the sky is seen. Make sure that you apply evenly across all parts of the sky and that it does not for many pools or bubbles of water, water consistency, even using watercolors is one of the most important thing that anyone needs to learn and master. It comes with a lot of practice, but that is an easy way to find out that it's a lot of water on your people. Try to put your paper under some kind of light, so if your light is falling from the top. Try to look at your paper from the side so that you can see the water has formed any kind of bubbles or blobs or large pools of water. And if you do see such large water on certain areas of your people, spread them out with your brush so that it has a unique consistency throughout. I'm not here how I'm painting along the lines of the sketch on the top part to separate the mountains and the sky. Next is the most interesting part of the painting process for me, using and putting down my watercolors onto the paper with my silver black velvet size 12 brush have loaded some bright blue collar from white Knights watercolors onto it, and I'm no mixing it onto my ceramic palette. We want a pains to be a slightly thicker consistency on. Do not. Here's a lot of water to dilute it, because we want us guys to be vibrant. Start applying the paint onto the paper and also note how I have left a slight white space over here because I want that part of describe to be lighter, just as it is in the reference picture. And when you reach closer to the sketch of the mountains, be careful not to paint over the mountains or to spread the paint on top of it. You straight lines of brushstrokes to paint. This part of the site takes and issues are dry glued on dryer pressures to remove any excess water in it. On. Blend in the paint onto the gaps that we left behind. Blend in evenly. Notice how evenly and blending the paint onto the vet portion of the people. Take some more off the bright blue paint and start applying in even straight strokes. And remember to leave a slight gap in between. As you can see from my final reference picture in case you find that the paper has tried, then you can go ahead and apply some more water to make it back again. The next color that we going to use this ultra marine blue. So let us start applying it again evenly in straight strokes from the top and remember to leave a big gap off white space over here. This would form the clouds almost in the shape off the jet stream. I used the dry brush again to even out my strokes and to remove any excess water from the paper and spread the paint. I'm going to remove a dad off the ultra marine blue from this part of the sky, so I'm going to sweep out my brush across. I put on my tissue and repeat the same process to remove any paint. This is because I want to mix it with a bit of pride, clue so that my sky would look like uneven. Blend off the bright blue and the ultra marine blue. If you want your sky to be really vibrant and your colors to look bright and beautiful, you probably need to give it a second coat of paint. This is because the watercolor paper absorbs some off the color. So I have started to give it a second goat using right blue, using the same method. Same straight lines of bright blue, spreading the pain, lending the pain, using my dry brush to remove something to create more white space is then using bright blue and ultramarine blue over at the top again, add more ultra marine blue at the top. We want this portion of the sky to be a bit more darker. This is because the top portion of the sky is actually what a smoke loser to you. Lastly, we use a brush to remove any paint that might have seeped onto your mountains. He was a dry tissue to wipe off this water that you just applied. Don't worry. If there is any more pains remaining, we will cover it up when we painted the mountains. 12. Winter Mountains - Part 2: The First Layer: Once the sky is completely dry, we will move on to the most exciting part. This class project the mountains. For the first layer. We will be using the vet on vet technique, so let us go ahead on bet the remaining part off the paper. I'm using my 3/4 inch, one stroke off flat trash from daily running. To bet the paper, take Clearwater and evenly apply water across the surface of the paper without forming any blobs or pools of water. When you reach the edges of the mountains, be careful and very carefully apply water across the surface of the paper. Don't rush yourself and take your own time to do this and just be careful not to cross over on to the sky. Remember that when you're applying water on the mountains, the sky should be completely dry. A device The pain to win seep in when you apply water onto the mountains. Once you finish applying the water, let's now dive into a water colors, so the first color that I'm going to be using is Spain screen. So dip your paintbrush onto your palate and pick up some Payne's gray color in a very light consistency. So you don't have to be using a very concentrated color, but rather just a diluted one. This is the first wash, so we do not want it to be very dark or highly pigmented. Start applying the brush strokes at random and irregular places on the paper. If you look very carefully at the reference picture, you can see that there s in places where it does not entirely white. But there is a lighter shade of gray in color. For achieving this, we're going to use the pain screen, get making those downward strokes on the left side of the mountain because if you look at the reference picture, you can see those lines coming down from the peak off the mountain. In order to do those rocky patches that you see on the mountain, do not stress yourself that you have to place it at the exact for into peritus. Just try to make it that random, irregular places on. Still, your mountain is going to look very beautiful. Keep painting with me so you don't have to worry about where you exactly have to put those strokes on the paper. Notice again that I'm using a very diluted version of the pain scree, and you do not want the concentrated color for this. Also, when you're picking up the paint on your brush, you do not want your brush to be loaded with a lot of water. If you find that your brushes are loaded with a lot of water, try to dab it onto a tissue to remove the excess water. Only then use the paint onto the paper at small dogs towards the bottom side off the mountain. In the reference picture, I'm looking. A place is very, it appears a bit darker. That's where I'm putting down the pain. Scary. Next we take some sepia and start applying it onto the areas where you see the rocks on the mountains. This is again the first layer, so make sure that you paint is diluted and not very concentrated. We're going to apply it just like we did with the paint scrape. Wherever I see that there are rocks on the mountains, I start applying CPR onto that part very lightly. Do not press your brush onto the paper, use very light strokes, so just sweep away at those places where you want your rocks to be and off course, you can paint over the masking tape. It doesn't matter because we will be peeling it off at the end. You know, the best thing that you see when you start putting those drugs onto the paper is that you start seeing your painting come alive. You know, you get that energetic feel just like here. Look at those mountains. You can order the seat forming some shape, don't you? Now I'm going to paint the peak off the tallest mountain over here. So I'm going to take sepia again and start applying onto the rocky areas that I see in the reference picture. Keep painting on those rocky areas on the mountain. Remember, this is vet on vet technique, so it is all right. If you're pain spreads wherever you are, applying it onto the paper. And also there is another hack that if you paper is not 100% cotton paper on the water that you applied, right, you can always apply some more water on the top, but make sure it is even and does not disturb any ideas that you have already painted. So if you observe the reference picture very closely. There is one thing about the mountains. This mountain that we have been doing right now isn't a full friend, and the other mountains are at the back side. So that is going to be like a bit far away. And the entire detailing would be on the mountain that is in the front. I have added a bit more superior to make it slightly darker at the bottom. Do you see that blue color in the reference picture that is actually the shadow cast by the front part of the mountains onto the snowy areas? Can you see some dark, rocky areas in that shadow pot? That is what we are painting. No. Once you're satisfied with the first layer, we can move on to the next video, which will focus on adding the next layer to the mountains. 13. Winter Mountains - Part 3: The Details: for the next layer, we're going to be using the dry brush technique to use the dry brush technique. We have to make sure that our paper on brush is both entirely dry. So this means that we will paint the next layer or leaving our first layer is completely dry. Dry brush directly on the issue by dabbing. It's that all the water on it is removed. I'm using the size eight silver black velvet crush. Dip your Dr Rush on your palate and pick up that sepia paint. But one thing to remember is that the pain that we're picking up should not have a lot of water. Remember, this is the dry brush technique, so we want everything to be Dr. Hold a brush at an almost 30 degree angle to the paper and start making these more strokes by sweeping it across in a downward motion, just like we learned in the dry brush technique lesson. So these trucks are going to be on the top of the areas that be adjusted in the last Listen , this is where the rocks of the mountains are going to be formed. When you look at the reference picture Do you actually see those rocks form a small plaster off many small dots. This is actually very hard to achieve if we put down each of those strokes using a brush, This is why we're going for the dry brush technique. It would also give us a very nice texture, especially when you're using rough paper. The dry brush technique allows you to put down the paint onto the top of the paper, so that means that the paint will not go into the pores of the people. And it will only be applied on that raft texture. I'm don't worry about where exactly you're going to put the pains using the dry brush technique. You can put it anywhere you want. It doesn't matter where you put it because he people it in other places that are not in the reference picture. It might also mean that you want some rocks to be over there. No, Does the swift downward motion that I'm doing to get the dry brush technique on my paper? At this point, I'm going to fast forward this video bit because you don't have to put down those strokes exactly it wherever I'm putting them. Just look at the reference picture and try to do it on your own. If you want, you can slow down the video using the options in skill share. Or, if you want, you can post the video on, continue painting and played again When you finish. Once our dry brush strokes are finished, we're going to move on to the next layer, which will be using the wet on dry technique. Load the vet, paint the sepia Qala onto your brush and start making the detail ing lines onto your mountains. This is not going to be the final details, but rather the beginning off the detail ing that we're going to do on this mountain. Using the bet on dry technique that we learned in the first lesson, we're going to put random strokes on the mountain where we want our detailing to be. You can also use a combination of both the techniques the vet on vet or the wet on dry, or even using the dry brush technique. The way to use a mix of these techniques are to load your brush with vet paint and start applying onto the people. So once you start applying, you will see a point where your brush has lost the water content in it and it has started to become dry and it has only the paint in it. So at this point, it was still go on painting rather than taking up more wet paint. It will become the dry brush technique because your brush has become dry, but it still has some pain to left on it. So keep applying and painting those little details on the mountains. As you are doing this, you can already see the mountain come alive. Right now, I'm painting down the rocks inside the shadow part off the mountain, load your brush with more bet paint and start applying it onto the layers that you have already done at some places, wherever you wanted to be. So this is exactly what I have been talking about all along. I have changed a lot of elements from the reference picture on. My painting is not entirely similar to that reference picture, So you are also free to change anything you want on add any additional elements that you want. Your painting and note at present were only working on the mountains in the forefront. The mountains that you see in the background are far away, and they need not be asked. He deals as the mountains in the foreground. Now I'm going to move on to the mountains that are in the background, that ISS the far of the mountains over here because they're far away. They're not going to be much detailed, so we're not going to be using concentrated, sepia colored. We're going to be using very light strokes with very diluted paint. It need not be that already. Technique. You can go with Ader off the vet on vet or Rhett owned right techniques. I'm now using pain. Scary. I'm going to paint the background mountains with that at times, if my brush strokes become much darker because I have loaded concentrated paint, I had a bit off water onto the people and just spread it out. This will also give you a good texture so you can see here that I am no spreading off the Paynes grey that I applied onto the people. I'm not going to focus on much the tailing off thes mountains because they are behind the foreground mountain. One thing about painting mountains. Is that every mountainous different? Even if many of you drive this painting, each painting off yours will be different and unique from the others. Every outcome off the skin share class is going to be unique and beautiful because it is you who decided where you want those rocks on the mountains to be there. You want those start lines to be how you want to work on your mountain, whether it is vet on vet or red on, Dr. 14. Winter Mountains - Part 4: The Shadow & Final Details: Next we will focus on painting the shadows on the mountains from the reference picture Observer, the blue shadow, part of the mountainous. That is what I'm going to be into right now. I am using ultra marine blue to pain the shadows on the mountains using a size eight silver black velvet rush. Do you know why the shadow is actually blue? This is because whenever an object casts a shadow on the surface, the OPIC object is able to block the light of the sun. But not the Ambien light with just coming from the sky on top. If it so the sky is blue. It is the result of the atmospheric molecules scattering the blue light more effectively. This is the reason why we see the blue color off the sky on the snow as shadow. So this blue shadow is actually the shadow cast by the rich off the mountain right below the ridge of the mountain. The ultra marine blue is going to be thickest. When you move further away from the rich, we see only light or shadows so you can go lighter. As you move towards the right side, you can observe how I am doing this very slowly, taking my own time and enjoying the process. When I see those time lapse videos in YouTube, instagram or other social media sites, I have always wondered how those are to spend because they start loves. Radios are really misleading as to how much time the artist spend on that piece of paper. These videos are fast forwarded by multiple times like times 10 or times 12. We tend to think that they work faster on the paper, and there are many artists who spent hours on one single painting and end up creating a masterpiece. It doesn't matter if your painting is created in half a nod off five hours, or even more than that, as long as you put all your effort in it. Have a sleep off your drink and listen to some music. I'm just staying along with me here. Leave some tiny white spaces on the blue areas near the top off the mountain peak, if you want. This is that own dry technique. Keep painting the shadow slowly and taking your own time to do it. Give smaller shadows to the rocky patches on the right. Let us now give some shadows to the mountains on the left side. Make peace with downward motion with your ultra marine blue. Once we're done with the shadows of the mountains on the foreground, we will work with the shadows of the mountains that are far away because they're very part of me. We have to paint with the very lighter tone off ultra marine blue. So you style looted ultra marine blue and start giving shadows. But remember that it has to be really diluted, and the color has to be on a very lighter tone down what you applied in the foreground layer. Many artists usually paint the background layer first and then the foreground. But if you look at the reference picture because there is a separation between the background on the foreground, it really doesn't matter which order you paint the slayer in. I'm going to add a bit of pain screen to the areas that I feel. I wanted to be a bit more darker. This is a very diluted tone off the pain screen, almost at the end of the tools watch that we did earlier so that diluted pain straight. You can add a touch off Arte Marine blue if you want to give it a mix of both the shadow and dark areas. Sometimes when I'm working on the mountains, I don't even look at the reference picture. Sometimes I just look at it once and wherever I feel that I wanted to be a bit darker, I apply the color onto it. I'm giving a bit more lighter doing to the background mountains. Over here. I'm reading some more ultra marine blue at certain places. I'm extending the shadow part off the foreground mountain a bit, and I'm going to know work on the D, dealing off the mountains a bit more. So I'm applying sepia again onto the details that are ditch earlier to make it darker at certain places. I'm applying sepia onto the places that I feel that I've left out earlier, and it looks as if it is too much white or empty to paint the rocks on the shadow part new sepia again on top of the ultra marine blue. Observe how very carefully I'm applying those details and taking my own time to do it, because I do no want to rush on this and ruin whatever. Up until now, we can already see how the mountain has come alive, right? Those mountains have already formed the shape, and now we're just adding more and more details on to it. I'm just repeatedly adding more and more details to cover up the places where I feel that I've left the bitch to bite or where I feel that I'm lacking a bed of deals on my mountains . So I'm just adding more rocks onto that part off the detail ing. - And now I think we can say that this painting is complete. Ungh, Rachael Ations guys, you just created a masterpiece. 15. Spring Mountains - Part 1: The Sky: even know. Start with our second glass project. In the following lessons, we're going to paint a mountain landscape which is so sitting on beautiful Have you seen When the spring starts on, the winter is finally over. The snow starts to melt on the mountains and at the base of the mountains, you start seeing those meadows and green valleys. That kind of surveying beautiful landscape is what we're going to pain today. So let us first start with the pencil sketch by looking at the records picture. I'm using the bottom part of the paper that are did for the first class because my paper was in a pre size, you need no do it in an increase eyes. You can do it in a four or even in a five, so you go ahead with whatever paper that you have in your hand on. Like I keep saying, Your sketch from the reference picture does not have to be exactly as it is being free to make any genius, he wound in order to give a bit more clarity. When you start painting, I'm going to draw those separation lines between the green and the gray and the white areas of the mountains as well. So it's easy for me to know when I look at the reference picture where my color needs to go , we will start with the sky again. So, just like before, start applying water onto the paper evenly on all the portions of the sky, making sure that there is no large blobs or pulls off water. And if you accidentally stepped over onto your mountains when you're applying the water, you can always fight to drive with the tissue so that the pain does not seep into the mountains. No closely. How carefully I'm applying the water. When I reached the pencil sketch off the mountains, you should never rush any part of the painting process. Now let us start with coloring the sky. We're going to use bright blue for the sky. I'm using my size eight brush, and I start applying the blue onto the sky. The area on the right side, which you can see in the reference picture, is left white so that I can work on the clouds later on because the papers vet you can use any kind of strokes on the spot. If your paper is not vet and use any random strokes, it would appear haphazardly, and it would be really visible that there is something wrong with the sky. But don't let. Technique is the best method to pain sky in landscape paintings. As you can see, I've left some white spaces because I want those spaces toe appears clouds in my sky. Next, I make some ultra marine blue, and I'm going to apply it on the top side off the sky. This is again because the sky is darker at the topside. This is due to the fact that what we see in that picture the top portion is what is actually closer to the viewer. On the bottom part is very, very far away. Use your brush and tissue to slowly blend in the color on the areas where your mountain on the sky meets. As I said, those parts will be very lighter because they're very far of it. On that point, where the sky and the mountains meet is the horizon for us in this picture. Blend in the bright blue evenly No does that. That loudy part on the right side has been left white. We're going to add a tiny bit off the sky onto that one, using a very diluted tool off. Bright blue clouds are not in dial easiness white, and they do have shadows. So let us now play in the shadows of the clouds, using a very light tool off pain screen. Do not paint all over the white space. Just put down the strokes at places where you think the shadow of the clouds can be. Remember to use a very lighter tool of Payne's gray. For this now are sky seems almost done right. So if there are any spaces where the bright blue has seeped into your mountains, apply some water over it and just stab it up with the tissue to clean it up. 16. Spring Mountains - Part 2: The First Layer: want to the first layer off the mountains, so we start again by applying water evenly on the surface of the paper along the lines after mountains. From the reference picture, do you see that brown rocky part at the bottom off the picture? We're not going to pain that right now, so we're not going to apply water on that surface. So when you apply water along the lines of that, make careful that the water does not seek into that part of the sketch. We should again be careful when applying the water that it does not form any large blobs or pulls off water. You might have understood by now how important water control is in watercolor paintings, but don't bet. Technique is my most favorite technique in watercolors because it lets the pain to flow flow in an uncontrollable manner. On this un controllability off watercolors is the best Parfitt carefully along the edges of the mountains. Also, if your sky has enjoyed, then when you're applying the water and you accidentally touch your brush to that part of the sky, your pain is going to seep into the area and ruin your mountains. So be careful as to start painting this part only when the sky is completely dry. The snow capped part of this mountain is not very different from the wind. Ellen escaped, and we just finished, so you can go ahead and start using pain screen to paint the first layer on these mountains . Apply lighter tone of pain scree on the mountains where you feel those lines should be. From the reference picture, you can paint this in whichever way you want painted to your heart's content and not be worried as to how you should put those drugs. It need not be exactly as it is in the difference. Picture one example off. What I changed in this reference picture is the aspect or issue. So if you look at the reference picture, you can see that it is a oneness to one picture. But I have made it into an a five landscape. I did this by extending some off the mountains so that they do not look cramped together. So this part of the mountain where I'm painting right now is the background mountains, as you can see there behind the mountains that is in the front. This is wet on wet technique that I'm applying to it, and it will make this layer look very far away. If you want your mountains to look snowy rather than more rocky, you can also change that. The best thing about mountain landscapes is that you could change the reference picture the way wanted, and you would have a beautiful mountain that looks entirely different from the reference picture. In some places, I'm not even looking at the reference picture because, as I said, I made those mountains a bit more extended to cover the A five paper. Remember that you have to work fast when you're working with wet on wet technique because you want your paper to be vet when you're applying the paint. If your paper has right, you can apply more water. But just be careful not to apply water over the surface that you've already painted, because this will make your pain to spread away on form blooms on the paper for the mountains on the right side. You can see a brownish tint over here, so for this we're going to use the sepia paint and apply it onto the paper. Next we paint the grasslands at the bottom. This is the place where the snow has tried on the spring has blossomed, so we're going to use sap green for the surface on. We're going to let that sack remix onto the sepia that we just applied. Make sure that your green does not cross over onto the rocky part of the painting. At the bottom. We will let the green flow on merge into the other colors that we applied, such as the sepia on the main screen. By letting in the green color to blend in with the other colors, we would achieve the transition off the snow. We part to the grasslands. Just try to make sure that you put those strokes on the paper in the direction of the valleys of the mountains. Here are making downward strokes because the mountain valleys are facing in that direction . Green and yellow are my favorite colors, and I find the utmost happiness in using these colors in my painting. If you feel that some parts of your grasslands are lighter, you can go ahead and apply second gold over it while the people still wet. But remember if those green strokes that you made earlier has right, and you're going to apply more paint on top off it. This would a the form blooms or hard edges. But if you really want to work on it, move. There's a simple way. Just try to apply paint over the dry area and blend in towards the vet area. 17. Spring Mountains - Part 3: Adding Details: we will start working on doing the details on to the mountains. First, we will start with pain screen and start applying it onto the fresh areas that we painted in the first layer. I'm using a medium to talk. Or don't off the Paynes Grey here. From the reference picture, you can see the ridge of the mountain on the right. So first we will start making the reduced using the pain screen. Keep taking more pains. Great and blend in the color. With the previous strokes, you can add additional lines onto the green paint. Over here, it is always better to blend in the color if the layer and the need has not right. But if it has dried, you can always go ahead with bet on right technique. Next, we're going to paint the darker tone of sepia to mark the shadow areas on the right. I'm blending the sepia with the pains. Great dis into it. You can leave some areas white and leave gaps or blanks in between your strokes so that it would appear as if there s no or lighter parts of the mountain over here. Keep painting with me and it will be an easy task to replicate this landscape. Painting next level, you start green or green color from white nights on top off the submarine to mark the shadow areas on the mountain. Using your paintbrush, make the shape off the mountains that you see at the bottom part. I'm using a size aid rush and using its pointed tip, I'm outlining the shape off the mountains on the valley. Barred. Keep adding green or dark green onto your painting to mark the shadow areas on the grasslands, all the valleys off the mountains. This is, as I said before. It doesn't have to be exactly as it is in the reference picture. I'm going to take pains great again. I'm continuing, painting the great parts of the mountain for some off the strokes. I'm going to leave white spaces or gaps in between so they form like a texture. Apart from the already existing texture on the paper, you could also achieve this using the dry brush technique. Keep adding more and more details, using the pain straight on top, off the first layer off the mountains. - I leave a lot off white spaces in between because it is easy for me to get that texture in the wet on dry method, but you can always go ahead and use the dry brush technique if this is too difficult. He was Spain's, created to pain the darker parts of the smaller mountains at the bottom side of the bane Ting applied on top off the Sakhalin along the outline that you made the mountains earlier . You can also add some lines using pains great on top off the sap green Um, adding more and more details on top of the mountains board and more darker each time, like pain scree on top. Off pains, create tart green on top off sap green. Keep working on the details until you're satisfied. Add more and more details using Payne's gray at more details on to the foreground mountains . I will be fast forwarding this video at certain places, but if you're painting along with me that you can always go to the skin, share options at the bottom of this video and set the speed 2.5, I'm no adding more details with Payne's gray on the mountains on the left side. Observe how amusing bet on dry mattered in applying my pains on top off the first layer, but I'm also leaving a lot of gaps over here so that it forms like a rocky texture on the mountains. But like I said, you can also achieve this using the dry brush method. It is always the fine detail ing that takes most of the time in a painting. When working with watercolors, the vet on vet method is very easier and takes less time because naturally you working faster because you do not want your paper to drive. On the other hand, wet on dry technique is the toughest, because now you're focusing on putting your strokes at the rights Place a device you would be forming hard edges on the paper. You also want your detail ing to be right on that exact places where you want them to be. So that's why the detail ng but is the most office part in a painting. Now I'm going to give a darker tone of sepia onto the abundance if they're using gold dress paper, that will also give you the right texture that you would need to use for wet on dry technique or the dry brush technique, cold pressed paper or rough paper at the best paper for watercolors if you painting landscapes. This is because they have a very nice texture, and it is easy to work with different techniques that just went on BET, bet on dry or the dry brush technique. So here I'm able to apply the final details on to the paper because of the very texture off the paper. If my paper didn't have any texture or if it was a heart newspaper, it would not be this easy to make two strokes. But of course, it does not mean that hard pressed paper is not suitable for watercolor painting. Each type of people has its own uses on painting landscapes isn't not one of the many uses off press paper. For that, you will need gold dressed or rough paper, the way the final details on to the mountains and the valleys in the front. The detailing part is almost done, and we can move on to the foreground rocks 18. Spring Mountains - Part 4: Foreground Rocks: now let us paint the rocks in the foreground. I'm going to use a mix of sepia on draw number for the rocky areas. I will also leave certain areas white because this is where I want to paint those rocks. But if you do not want to leave those areas white, you can use a masking fluid here. I'm mixing raw amber here with sepia so that I get a mix of pulled these colors for the rocky areas. Remember to leave white spaces or use mask included to mark the position off the rocks. Now I'll give final detailing for the rocks so that they have a shadow. Apply a bit off sepia or dark brown right underneath the rocks so that they have a shadow and we'll look Moria. 19. Final Thoughts: bailing off the masking tape is the most satisfying part. After you finish painting, you'll get to see the final beautiful masterpiece that you have created a big thank you to all of you who made the effort and spend the time to watch my class. I hope you had fun learning about mountain landscapes. I'll definitely try to come up with more and more such landscapes for my next can share classes. If you were painting along with me, then please upload your paintings to the class project and I'll be happy to share them on my instagram stories. You can find me on Instagram, a scholar for Mystique seawall in my next can share class.