Learn to paint "Winter Creek" with Watercolors | Gary Spetz NWS | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Learn to paint "Winter Creek" with Watercolors

teacher avatar Gary Spetz NWS, Gary Spetz Watercolor Studio

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

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

16 Lessons (1h 36m)
    • 1. Introduction

    • 2. Layout & Masking

    • 3. Base Wash Colors

    • 4. More Masking

    • 5. Base Wash Colors II

    • 6. More Masking & Background Trees

    • 7. Snowbank, Rocks, & Tree Trunk

    • 8. Pull Branches & Background Trees

    • 9. Snow Shaping

    • 10. Snow Shade Details

    • 11. Scraping Snow Edges

    • 12. Tree Snow Shading & Creek Scrubbing

    • 13. Creek Bank & Branch Details

    • 14. Finishing Details

    • 15. Gary's Palette 101

    • 16. Masking 101

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class


Forged from the creation of his 111 Public Television "How to Paint" episodes, Gary has perfected his popular step-by-step teaching method for watercolor. Rather than progress from an "easy" painting to a more difficult painting, Gary starts his students on "any given painting." Choose "the subject" (the painting) that you prefer, and Gary will walk you through its creation from start to finish.

It has been his experience that by breaking the watercolor painting process down into easy-to-follow steps, students can take on any of his painting compositions—thus progressing more rapidly. Gary’s proven teaching method will make you a better watercolor painter!


In many ways, novices are at an advantage as they have not yet pre-learned any watercolor painting approaches. But more advanced painters usually benefit from Gary's many unique watercolor techniques as well.

Watercolor is considered the most versatile and challenging painting medium. It can seem, at times, to have a life of its own. Gary demonstrates how to take control of this dynamic medium by breaking it down into easy-to-follow steps.

Painting Image Size: 19" x 13" (on a 21" x 15" half sheet of watercolor paper)

This course has 65-minutes of video content AND, to help you achieve success, it includes numerous very helpful “Downloadable / Printable” Reference Materials.

Do read Gary's helpful "Beginning Notes" (downloadble/printable). And you are encouraged to post your progress to receive constructive feedback from both Gary and other artists. Most importantly, have fun!

19” x 13” Drawing Guide (in 4 parts to be taped together)
Masking Drawing Guide
COLOR Painting Printout
Palette Guide
Supply List

This course also includes 32-minutes of bonus video content:

Masking 101
Gary Palette 101

Meet Your Teacher

Teacher Profile Image

Gary Spetz NWS

Gary Spetz Watercolor Studio


Through his award winning art, Gary Spetz attempts to enhance the viewer's appreciation of the colors, shapes and designs that surround us. Gary travels extensively in his quest to both collect painting materials and find new paths to explore. In truth, he enjoys the "going to" as much as the painting process, itself. As an avid outdoors enthusiast, he hikes, skis, sails, and kayaks through the landscapes that he films and paints.

Gary is a "Signature Member" of the National Watercolor Society. He is a graduate of the University of Minnesota who, over the years, has achieved numerous acceptances into the prestigious "Top 100" National Park painting collections of the National Park Academy of the Arts. He has also been featured in 98 national PBS television episodes (American P... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: Hi, I'm Gary Spetz. I'm a signature member of the National watercolor society and the artist host of the long running public television series painting wild places. Watercolor painting can be a challenging art medium to learn. The interaction of wet paints on poorest paper can seem unruly at times is though it has a mind of its own. Watercolor painting is not for the squeamish, but it is in my humble opinion, the most rewarding art medium to work with. And my lessons, I will show you methods to tame your watercolors. And like in my public television series, I'll break the painting process down into easy to follow step-by-step demonstrations. If you follow these steps, you'll be able to successfully complete this painting regardless of your experience. I've posted some handy downloadable printable resources that will help you with this lesson, such as a printout of the finished painting, a drawing guide in a suggested material list. It's all about the fun and the satisfaction of your painting and achievement. So let's get started. There's so little time and so much to paint. 2. Layout & Masking: The first thing I'll do is draw my painting composition on a 140 pond water color paper. I'll use an H lead pencil for this. If you prefer to trace it, download and assemble the drying guide. Once drawn out, I'll take the paper to a slightly larger backing board. Then listen masking fluid protect the stark white areas of the painting. I like to use a masking pick for the small and narrow areas. For larger areas, I'll use a disposable painting brush. I would avoid using a good-quality painting brushes. The masking fluid can easily ruin them. If you make a mistake that the masking fluid dry, then rub it off and then apply it correctly. Don't try to lift what masking fluid, you'll just make the mistake larger. Dry masking peels off somewhat like rubber cement. 3. Base Wash Colors: Once the masking has dried, I'll saturate the paper with water. I've yet the board tilted to inches forward in two inches up on its left side. Then I'll begin applying a rich mix of cobalt blue with a 1.5 inch flat brush, gravity will pull the peat down through the wet paper. I'll add a mix of roles and cobalt blue. And I'll add just rose, allowing the colors to blend on the wet tilted paper. I want to achieve an interesting look. I don't want solid blue, I want some variants. And I'll carry some of these colors over to the area that will be the scenes background trees. I want to keep that area light in value. Then I'll sweep some of the excess paint and water off of the paper. Now white dry the masking tape edges with the tissue. Dry number 12, round brush, wipe up some of the page puddles. 4. More Masking: Once the paper is thoroughly dry, I'll mask the snow on the tree branches. When the masking is peeled, the tree snow will be of a slightly darker value than the snow I masked in the first step. This helps create the illusion of depth. It's very important that you do not apply masking fluid to damp a paper. It could soak into the paper a bit causing tearing when he tried to remove it. Like before. I'll use the masking pick for the small, intricate shapes. For the larger shapes. I'll mask right over the snow shadows. 5. Base Wash Colors II: Now with the masking dry, I'll saturate the entire sheet again. I'll quickly work some cobalt blue into the background area. This time, I've got the board tilted four inches forward and raise two inches on its left side. And with vertical motions, I'll add in some cobalt green, a bit more on the left side. I don't want the background colors to be uniform or symmetrical. I'll sweep off some of the paint bottles. Then on the background is still wet. I'll work in some rows. Are blended in some is I do not want the reds to be two prominent. With a water loaded brush, I'll sweep some others still wet paint offer the distant creek bank area. Then I'll work in some cobalt blue in horizontal sweeps, as opposed to the vertical sweeps above the bank. And I'll add n some horizontal streaks of rows. You can see that I like to blend the paints right on the wet tilted paper. Next I'll rewrite the bottom two-thirds of the paper. And I'll work in the Crick colors. First, the more distant portion, I'll make it a bit greener is I work down and forward. Then in the closest section of the creek, I'll work in the more vivid phthalo green and blue. Again, some transparent yellow and some cobalt, turquoise. I want a variety of colors. And I'll darken the distant creek section a bit with some cobalt applied while the paint is still wet. Table cell will create some interesting texture patterns. More puddle management. Then I'll work in some more cobalt turquoise applied to still wet paper. The paints edges will blend with the underlying colors. And I'll work in a streak of yellow up here. Again, all, all the underlying paints are still wet. Then I'll tend to the petals again. The paper dries. The streaks that painting will retain their shapes better. Work some highlights and around these ice shapes. And the distance. 6. More Masking & Background Trees: Once the paper is thoroughly dry again, I'm going to mask the snow on the distant creek bank. I'll mask around the tree branches and around the exposed rock shapes. Then once that's dry or wet, the background tree area with a water loaded brush. Actually, I'll went everything from the distant portion of the upward with a mix of burnt sienna, an ultramarine. I'll work in the rock colors. I'll vary the mix of burnt sienna and ultramarine so that I do not get a uniform brown. I want some variants. These complimentary colors often make great rock colors. Since mix they blend into a gray. Then I'll work some cobalt blue into the distant portion of the creek. And I'll taper into the lower portion. As it dries. I'll work in some streaks of cobalt blue. Next, while the background is still wet, I'll begin pulling up some crude tree shapes. These are vertical brushstrokes intended to signify distant tree trunks. I'll make them a bit greener on the left side. These are meant to be crude shapes. I'll add some rows to the cobalt blue on the right side. Some other edges will blend into the wet underlying paints. Paper slowly dries. The newer shapes and become more defined. I'll add some are dark values of brown and blue to the dry and rocks. And, some more distant tree trunks. Add some salt to promote texture on the rocks. This is a paper begins to lose its sheen of wetness, are scraping some vertical tree trunk shapes with a palette knife. If the paper is still too wet, the shapes will not hold. If the papers to dry, the shapes will not take. There's a narrow window to apply these paper being too dry, too wet. 7. Snowbank, Rocks, & Tree Trunk: With a burnt sienna and ultramarine mics are painting the shoreline base colors. Remember these are exposed shoreline shapes that are not covered with masking. I'll vary the burnt sienna / ultramarine mix as I go along, avoiding a uniform brown color. Then with a mix of brown matter and fellow blew up painting the prominent tree trunk base color. This is a pretty rich mix with a dark enough value to cover up the underline background tree colors. Like with the shoreline, I'll vary the brown madder / phthalo blue mix to avoid producing a uniform brown color. I want variance. To work the smaller branches, I'll drop down to a number to round brush. Once the tree trunk base color is dry, I'll suggest some shape and dimension by shading portions of the downlight side of the trunk with phthalo blue. 8. Pull Branches & Background Trees: Tree trunk dry, remove all the masking was a masking eraser. I'll use the edge of a pallet knife to remove the salt particles. Scraping in the same direction as the flaw of the creek. If I scratch the painting, the scratch will at least be going in the same direction as the creek, making it easier to work with. I'll knock the loosened salt off. then feel with my hand for any salt or masking that I may have missed. Now I'll pull some background tree trunks with a palette knife. I'll set the bottom of the knife into a pool of paint on the palate. Applying the pain to the paper with a knife is akin to using an old pen quill dipped into ink. This is a good thing to practice first as the consistency of the paint is crucial. It can't be too watery and it can't be too rich. Maybe the best consistency description is having the paint is thick as cream. You can use a rigor brush to do the same. But I like the feel of the knife better. It seems to produce more irregular, natural tree trunk and branch shapes. 9. Snow Shaping: With a lean mix of cobalt blue, I'll sort and shade the snow on the distant creek bank. I'll create a shape with hard edges, but I will tend to disperse one of those edges. The resulting hard edge separates two portions of snow, creating the illusion of varying distances from the viewer. By feathering out the other edge, I create the illusion of roundness as opposed to an abrupt change in distance. I'm feathering out with a dry brush here. Sometimes, I'll use a water loaded brush and or a tissue. The feathering is a tendency, not a hard and fast rule. Sometimes my shade shapes will only have hard edges, but this can easily be overdone. It's easy to create what I call a hundreds of little blue bands or snow boomerangs. You'll know them when you see them. When shading white, it's all about subtlety. The first step of the shade needs to be light and lean. I prefer to use a flat brush for this as it is so versatile. You can use it's long flat edge or pivoted and use its corner, which gives it a tip like around brush. I need to separate the snow of the large tree from the snow on the ground. I'll again do this by creating a hard edge between them, but then feathering the other edge out. And I'll separate the portion of the snow in front of the tree from the snow behind it. I'll also need to separate the more vertical snow on the foreground creek bank from the horizontal snow. The first step will be to lightly shade the entire bank. Then I'll add some shade details to suggest that the ice and the creek have some shape and depth. I do this crudely. Finding spots that might reflect a bit less sunlight. But in the aggregate, I believe that these little shades spots create the illusion of depth and dimension. Now I'll show you the most vertical portion of the foreground creek bank and the edge of the shore. I'm shading within what I had previously shaded. And I'll apply some secondary shades on the ice shapes to tended to shade them within previously shaded areas. 10. Snow Shade Details: Going back to the distant creek bank, I'll create some shade shapes within the previously shaded areas. These will tend to be small shapes with hard edges. And I'll highlight some shades in the exposed rock shapes as well. Using the same lean mix of cobalt blue to stay within the previously shaded areas helps me not overdo the shading. It would be easy to make the snow too busy. I just wanna suggest shape to the viewer. Often less is more. Dabbing with the tissue helps keep these secondary shades light, subtle. I tried to imagine small portions of the snow that are more hidden from the sunlight. I really like ad lib. Here, I've extended some of the shoreline trees shades into the creek was cobalt blue. With a water loaded brush. I'll soften some other edges. And with the water loaded scrubbing brush, I'll soften some of the shaded lines on the snow surface. I use a normal brush for softening the shades on the creek as the scrubbers would lift to much of the underlying creek colors. And I'll lighten the vertical snow bank between the tree trunk shades. The softening process is important, as so much of a successful watercolor painting can be subtle. I'll soften the top edge of the vertical snow shade. And I'll lightly scrubbed portions of the blue band to give it some variants of value. All employ a small scrubber for making some vertical light areas in the blue vertical band. A water loaded "Incredible Nib" works well for this too. Now, I'll work in yet some more shade details. And, I'll begin shading and sorting portions of the tree trunk snow. 11. Scraping Snow Edges: With the single edge razor blade, I'll rough up some of the smooth white edges, making them appear more natural. Light in some of the sheet areas by scraping some of the paint off. Most 140 pound watercolour papers are durable and thick enough to do this. I'll also sweep in a sheen along the waterline. And I'll scrape in some flow lines on the surface. The razor is greed for lightened value details. I'll scrape along the edges of the ice as well. With a soft water loaded painting brush, I'll soften some, but not all of the areas I had just scraped. 12. Tree Snow Shading & Creek Scrubbing: I'll shade and sort the tree trunk snow shapes. I'll tend to shade the lower sections of the snow, where they lay on the branches. These are such small shade shapes, I tend not to feather out their edges. These details begin to provide the viewer with the illusion of depth. Again, it's important to keep these snow shapes subtle, light in value. Next, I'll lightly scrub in some more water surface streets. Creek colors lift easily. So I'll start with a soft water loaded paint brush. Where I want more lifting of color, I'll employ the stiffer, more aggressive water loaded scrubbing brush. I'll switch between the two types of brushes as needed. Next, I'll apply a light shade of blue to the stark white portions of the distant creek bank. This will set them back a bit from the foreground snow. And I'll do some more lightning of color around the shapes of the creek ice. I'll use a soft brush again as I do not want to live too much paint. I want to keep these lightened areas subtle. 13. Creek Bank & Branch Details: With a small round brush, I'll work in some of the exposed dark values of the creek's shore. Then I'll work in some small branches on the prominent tree was a palette knife. I think the knife works particularly well for branches. When I do this with the rigor brush, I tend to get unnaturally curved branches. The palette knife tends to provide a more natural, wild look. 14. Finishing Details: I'm going to work in a few narrower tree trunk shapes with a mix of cobalt blue and rose. I'll keep these light in value by dabbing at them with a tissue. And I'll scrape and a few more white details with a single edge razor blade. I'll also scrape and some are white highlights on the tree branch snow. This will give the snow shapes a bit more variety of value, enhancing their illusion of depth. Okay. I'll scrape some more white highlights onto the creek surface as well. The most difficult stage of a painting is often its completion. I find it's always easy to start a painting, but it's not always so easy to stop. For fear of overworking, I'll call this one a wrap. 15. Gary's Palette 101: Everyone has their own way due to pal and I don't use a lot of colors as you can see, but I'll explain what I do. And if you find that a value grade, if not, there's no hard and fast rule for doing what I do, what I'm doing and does this all shown up? Good enough? Okay. And this is slightly different than what this what the handout and I'll explain what I changed, but it's very minor, but I like to put my blues in the corners. So up on this corner I have a Cyrillic. Can I have some goofy names on some of those colours on the handout, but I have the interpretation below to more generic names for the colors. So Cyrillic ion, which is often a sky color up here, cobalt blue, which is the colour, is this pointer showing up, okay? Okay. The cobalt blue is probably use more cobalt blue and yellow than anything but cobalt blue down here, the ultramarine blue here. And then the fail of loop, really the primary bloom upon this corner. I, I mix all of my greens with what I would call it a transparent yellow x. So transparent yellow is probably the other color I use a lot up because I'm mixing my own greens. I call this cobalt Green. I don't know that's the official name. I just use it because I'm mixing blue. It'll cobalt blue with the yellow right here. That make sense. Okay, and here I am. This is what I call ultramarine green because I'm using ultimately in blue and this transparent yellow dots appear yellow to get that. And then up here I call this Thaler green. I'm mixing a little blue with the transparent yellow to get that now, how green? I mean, Green is a relative color, right? It's ie, It's either a bluish green or it's what I call a y me Green. And I'm not that concerned about where it is. I just want to have a head start. It's green. And I'll explain that in a second. What I mean by that. The other colors on here, there is a lot less of yellow ochre, which is more of an opaque, as you can see. Almost more of a mustard yellow. Over here. I'm jumping, I'm, I'm using the turquoise. I think it's a turquoise. It goes by different names, but it's basically a turquoise blue color, turquoise green, although it doesn't look very green right there. This is, my rows are red. And here's Payne's gray and here's the burnt sienna. What I end up doing with some of these is between a common mix that I use as cobalt blue and roles and mountains for instance, that's a very common distant mountains. I want this sort of lavender ish blend. I'll use this, I'll use this. I try to keep these colors pristine, clean. I really try hard not to pollute these colors by sticking a dirty brush in them. I use, I'm holding this brush. This is just a favorite brush of mine, which you can see is not in good shape. But I use it for mixing colors and it's sort of a dedicated brush for that purpose. What I'll do is try to do all my mixing out here. Now when I'm doing common mixes, for instance, if I'm doing the cobalt blue a prism here, maybe I kinda clean the brush out. And then I'll do a little rows here, say, and I'll maybe mix the two of them together. If I was doing mountains, for instance, I might do that and it enables me to kinda can dip into the bluer part of this. I can dip into the more roles or the in-between. But whatever I do, I try to do out here. If it is a common mixed like this, what I'll do with the excess when I'm done because I like to be thrifty to save on page as I'll put it in between here. And I don't have any now because this is a new palette. But I'll, I'll end up getting a pool of the mix of these two. Another common mix that I use is the burnt sienna and the ultramarine blue. Often I'll do rocks with those two colors. So in this in-between, I'll often put the mixed well, I can draw up and save. I'll, I'll, I'll put here. Okay. Another thing that I like to do, and I'll, I'll, I use cobalt extensively for it's a nice layering color. Cobalt blue. I'm going to put some here. And as you can see, I have all my paints in a liquid form. I always keep them in a liquid form. It's difficult for me to quantify how liquid they are. Maybe I would say like a thick ink consistency. I don't let them dry. And what I'll do typically every day is I'll come around and I'll spray a little water in them and stir them up again. And again. I'm very careful when I stir that these colors back that I'm using a clean brush, particularly for the yellow, that's the easiest one to pollute, you know, with a dirty brush. So if I'm mixing colors, stirring them, I'll do the first and maybe I'll jump to the greens and then clear the brush out really well. But I'd like to start with a liquid and then I put the cobalt blue on here. The nice thing about this, let me grab a real brush is that when you've got the blue, for instance, I can add some water and I can have the blew out here in various stages of richness, I'll call it. So I'll say that the painting is rich if it's got a lot of pigment and it's leaner if it's more watery. And you can actually go and get a little bit thicker mics here so that you can see it's very unhealthy, can tell that's very thick there. And if I add water, I can step at BEC. So depending on what I'm doing and that's not what I'm gonna do in this next step. But to illustrate, I like to have the ability to hear to maybe if I wanted older ritual, I'll draw from here. If I want a thinner, I'll draw from here. I look it. How do I say this? You can always thin the paint out. It's hard to make it thicker, Right? You don't want to be painting and say, oh jeez, I need some richer paint here. Well, you gotta take the toolbox and do that. So you want to lead these pools fairly rich so you can get to him quickly if it's too thick because that was probably for most things that I'd be doing. I can easily add water on here and thin it out. So I mean, that seems like a simple thing to say, but again, it's easy to thin paints out. It's difficult to thicken them quickly. And so many things you do in watercolor, once you wet the paper and you're doing things, the clock's ticking, you're working against time and humidity and gravity and things like that. So that's why I keep them all liquid. The other reason I keep them liquid is I like to use real rich vibrant washes on the paints. And if you work with dry paints, I think there's more of a tendency to paint light because you don't have that thick pool to reach into. So and I don't like the real pale and if that's what you like, that's fine, but I like really rich. So by doing these pools like this, that works pretty good. If you're not going to paint for a long time and I've been told that you're not supposed to do it, but I haven't noticed any problem doing it. I'll just take my pellet and stick it in the freezer and I'll let it freeze. And I I've had no problem. But, you know, I've heard some people say you're not supposed to. Maybe it depends on the brand. I don't know. Okay. Yeah. A lot of these cannulate or shimmery. Yes, it's a movie. Now, are they going to harden up again? In theory, no. I would keep them way if i yeah. Yeah. So every morning, whether I'm here or at home, I would give him a little score to water cabinet for travel. All yeah. For traveling. It's not practical. You you've got to they're probably not going to dry enough for you, you know, anyway. So you, if you want to, if, if, if you're gonna try to save some safe, the more expensive ones like cobalt, I think is one of the expensive one and put it in a little jar is something that's the disadvantage. It's not great for that because it's because of that. Obviously, if you had a nice dry block, you can travel easy with that. But for the techniques that I do, I just worked with pools and I think the reasons will become more obvious as I do this. There's this make any sense. Okay, so again, I make them my own greens. I just like to have my blues in the corners for that reason. I know some people have their colors kinda lined up the way they are and the color wheel, and that's fine, whatever works for you. But this is why I do this and I guess it just works for me. So I'm going to quickly move my pellet here. 16. Masking 101: Okay, so as you see, I just happen to have one that's already almost pretty mask dot. Not entirely hero. With masking. Please, please, please use some kind of a small container like this. Don't you don't want to define it here and use care with the masking to, if you would, to keep it away from the edge because this is the worst thing to get in the carpet. If we get this, If that happens, please tell us right away because the best thing to do is diluted with water right away. Because if you've worked with this, it's sort of like rubber cement. And so please use care within. And if you have a small container that you work, not only is it easier to kind of dip out of, but if it does get dumped, you can limit the amount as opposed to the whole bottle of it like this here. So I use such a thing like this. And I usually o masking on these things and I'll use these glasses on and I'll tell me if I put my head in there, you'll see that big bald spot if I lean forward. But I try to I try to stay back on here. And I'll I'll have a tissue in my right-handed and my left hand and then I hold this in this hand also. Oh, and by the way, if you haven't worked with masking, you don't want to get your clothes either. Bad, bad, doesn't come out. I don't think actually, I can probably actually zoom in on this. You can see the snow here is drawn very faintly. I'll see if I can zoom in. Zoom, zoom, zoom, zoom. Okay. That's a little bit right. Can you see the lines there? Is F01 is air. Alright, I'll use a pick to do this and I'll use this for a lot of fine things because it certainly is not wasted time. I'll spend a lot of time masking on things. It's not wasted time because you're getting detail. I mean, I'll mask out Snow, a mascot, boats, you know, a lot of man-made things often mask. I I just find it a handy tool because we're I'm not the fast, loose, spontaneous painter that will, you know, sit and work on these around. I like to mass because it controls shapes so that I can put in these face wash colors. And to me that's one of the great things a watercolor is getting these blends. So if I can control these shapes, I can then focus on getting the blends that I want. In this case, when I get to it, it'll be the blend in the mountains. It'll be this backwash for the base colors in the rocks. But I want the shapes and the mountain and well, let me just show you what I'll do is to pick then and then you can use a toothpick I, these things weave. It's just a little easier to hold onto. I'll just come in here and you don't have to do it exactly. And in shapes like this, I don't know. I hope you can see what I'm doing here. I'm there. I this grab a shape. It may not be exactly the way that I'm doing it, but I'm trying to follow it and don't spend too much time on it with masking. If you mask the wrong area, let it dry, don't try to lift it, just let it dry and then when it dries, you can just peel it off and then do it the correct way. On the other hand, these drawings that I'm doing are not 100%. So, you know, there might be a shape that kinda goes role or that goal. You know, it's a sort of lose the lines. You might have to wing it. And some of them, I don't think it's so much on this one, but I think that the larger one I have, there's a couple of spots and if I remember them, I'll try to point them out. But, you know, the snow doesn't have to be exact and might be different the next day. So but on the other hand, if you can kinda keep it close to what it is, there's no harm in that because some similar patterns, I should say, more than some snow patterns are very recognizable, like maroon bells. You've all seen that picturesque postcard kind of scene that has a very distinct snow pattern in those mountains. So all of this come in here and kinda do this. Alright, so this, I think it's pretty straightforward, right? Masking is always drying. So often it'll dry along the edge. It hasn't done it here yet, but I'll come around here and well, maybe there's a little bit there and see all always kinda pick up some and then I'll pull it off on the tissue which isn't my hand there fits shown up. Ok. So that's kind of a constant thing that's going on. When I get to a larger shape like this one here, is that on the screen this ok. So what I'll do is is the perimeter of that shape. And I'm not gonna do the whole thing here because take too long. I think you get the gist of it. Now often by the way, when I'm, when I'm demonstrating things repetitive like masking of this, Do it for awhile. And then I'll love when I see you starting to doze off and I'll stop and let you do it. But then of course, if you want to see me do to something more, I'd be happy to keep doing it. So here's the scary part of masking to, So I would follow this and I'm just going to keep my head out of their NC, those lines. So if you, again, if you know, you're gonna do the masking right on the paper is I am doing with the snow and I will be doing that the tree is again, the lighter lines are better because you just need them heavy enough to see and then they're not going to be a problem for you later. You can see though mountain top as that shown up on the TV that yes. Okay. I did actually come back there, make it slightly darker, but I'm trying to be careful when I do that to really pull the pencil on there lightly. Because again, that when we finish this, when we get to using a kneaded eraser, a lot of it will rub off, but not all of it. So, you know, the, I guess later is better. That's a double-edged sword because if you do things like rocks to light, they can be hard to find. So I didn't say it was easy. Always. So did you already lift that with a kneaded eraser before, you know? No. Never erase that lightly. See, I yeah, I drew them really liked. Net never, ever, ever erase anything until the painting is completed because you're going to distort the paper. And then, for instance, if I had, you know, erase this line here. Now when I come in and put the wash or whatever I'm gonna do here, there'll be a blemish that'll, that'll show up. So you don't wanna do that. So save any erasing for the very end when everything's done. So here's the thing that I do that it's a little scary and I did it here. If I have a big shit, you know, shaped like this, I'll do it and then I'll put a big x. Or if you live in Anaconda, you can put in a mountain. You don't want to forget that. And that's why I put a little note on the top and x. In fact, it's even better to put something I don't know in your palate. You know, why did I put that there? Because all forget I'll forget it. You know. What's that therefore, let me think and then oh yeah, the x's because they're hard to deal with some packets. If you go ahead and put your watch and here and then you've got this circle with an X in the middle. Now, you know, if you can remember the shapes that probably can be better. But figuring out a way to remember it. Why am I saying this? I didn't say did. Because after I do all the intricate areas and I'll grab a cheap disposable elements broken, a cheap disposable paint brush like this one. And then I'll just fill in these easy shapes like that here in this case. Well, yes, absolutely, absolutely. Absolutely. Which which brings me to another point when you're doing these shapes and see I'm just going to fill this sense. I would have saved this step here for when I'm, you know, I have all these, let's see. I think this one has several kind of big shapes. And then I'll just fill these in like that because it's fast. Now. Also with these brushes like this. And I hope you can see me, excuse me in and reach over here to my waist, your brisket op. And I'll try to get more life out of these because I'm really cheap. Cheap. You know, if you spray them with water and I spray and the garbage cans with their bags here, you can kind of give them a little more life. I don't like to use good quality brushes for this. I know some people will say well, you know, if you dip it in soap and this, and that you need, you know, it'll be okay, but I think ultimately you're going to wreck your brush. I just maybe because I've done it. And, you know, you'll you'll forget it. And I don't think there's any reason to sacrifice. Have good brush. I use these cheapo is for that. Another has mentioned on the masking, particularly with the snow, is your masking around here. Sometimes because you're reading, it's like reading a map. You're going to use our mascara eye mask there. Sometimes it's easier to mask which you know, you know, if you see a shape you go, oh, I know that gets mask, mask those shapes and then the others will sort of make sense. Makes sense. Yeah, I do that a lot. I'll go I have no idea. I have no idea what's going on here. But I know that this is mass, so all mask that out. And then all of a sudden it, it seems like it falls into place more. But again, you know, if you mask will snow here, little snow there and it's, you know, it could be. I mean, I don't think you have to unless it's way off course, you know, I think I think you can have little latitude here on these snow shapes. Ok. So any questions on this? I just feel like my lines or too dark to start with. I think I should have used well, yeah. You know, you are going to have a wash on here, so it's probably going to be fine. And again, the kneaded eraser will lift some of that up to. But yeah, you do want to kind of keep a light if if you can on these and you'll have another opportunity on this larger one. Well, we'll be doing it again. Okay, so and then of course I'm masking right through these, what I call my sawtooth trees. And these trees are not going to be shaped as they are. I just sort of put those in as a general reference mask right through those. But we're not going to worry about the trees. And then when I get to these miniscule, Oh, yeah, yeah. Okay. Here's an example. Can you see that? It's going it's intersecting the tree top. That one I'm going to Mass grade through the tree for Ignore the trees, just do all the snow shapes. Because what we'll end up doing is putting a wash on the mountains and then at the same time, right after that rather, but in the same step, kind of putting a Washington for the colors on the rocks. And then we'll peel the masking off of the snow here. And of course, when we put the trees on, it'll go right over and through that. So the only thing we're masking right now. No, that's that's that's that's that is step one. But there's more. The more and here's what I do because here's the other thing. And I get so frustrated. I'm always trying to do. I like to kinda throw foliage in and I saw this really cool. And I, this is one of my problems that couple of weeks ago I was, I saw this really cool composition where there's, there's an aspen tree with the goals and the, the, you know, the rest colors and whatnot. And it's against this kind of a dark, cloudy Northwest IT background scene with a mountain and the dark trees. And I thought, wow, and I like to throw the foliage. I think we did this last year, didn't we? We kind of through the foliage in on the tree and then you spray with the sprayer to kinda flare those shapes. Ok. And I thought man, that would that would rule agree. And if I could do that on top of this, I get that real wild look. Well, that's one of the problems of water comfort. You can't, you can't make goals in, in yellows and all those colors pop unless they have the paper behind them, it requires the vapor. So I've try well, this way of masking and that we have masking it in this way, a painting around it and everything I did it. It didn't give me that kind of look and it's I don't know, I'll still try to figure out some way to do it, but I couldn't do it because it's, it's often a problem. So in this case here, these need to be lighter and I'm going to mask them out to maintain the shapes. Now there's other ways of doing that. Of course you can, you can just paint around these shapes. But again, for the way that I'm gonna do the rock too, that's kinda hard. I wanna kinda get this blend and I've gotta maintain the white here. And in this case I'm going to have to maintain the white with hard edges because when you mask. You get these hard edges. So in this case, what I'm going to do with these tree shapes and I'm going to use, because ultimately this is all going to be mass this bottom, but the tops of it, I'd like them to be a little bit wild and that's not always, is this on the screen is it's not always easy. And you can do this with a brush. I just, I kinda like to do it with the, with this and almost come in here and see them kinda font form a tree top. And, and I'm going to try and I keep telling myself don't make a Christmas tree won't make it to form. And I can't, I don't want to entropy of edges here either. But I want to have an uneven edge and I'm in this one, I use the knife that it just helps me do that. But I'm always fighting this. Well, I find random is difficult. You know, I think a lot of us, you know, you wanna do things sort of in a pattern necessarily the way that we're wired, at least I am and I find random Heart, which is one of the reasons I like throwing the trees like we gave because it's, it's sort of forces that into the awhile. So I'm gonna come in here and just sort of form these treetops. And I don't necessarily have anything. I'm using the most cone shapes as a general area, but but I'm trying, you know, I had some interest. Yeah, I'm just trying. I keep telling myself don't make a Christmas tree because you don't want to go the seesaw thing. So the trees are not always. I don't know. They're just just just try to make it what's the word I'm trying to look for this star rating. Tried to do random. But yet I don't want it too intricate. It, it doesn't really work for this method. I don't want lots of holes and things. This isn't going to work on this. You see what I'm saying? I don't want it to to to lacy. Okay. I'm just trying to get this outside so it's a little uneven. And, and again, you can do that with a brush. I disorder like to use the palette knife to get it down below this part. And then I'll use a cheap disposable brushed to fill in the other area here. And I don't even know if I'm in a okay. So do you see I have this kinda going on the tip here. I'm, I'm dipping this under here, decided like a pen quill kinda thing. Again, try not to get a 200 intricate I guess. Try not to get it. Yeah. Trying to trying to avoid patterns and and sometimes I know when this will happen, when I'm like shading the rocks and things that I have a hard time really articulating exactly what I'm doing. So there was me and that it's not always easy to put words, but you get the gist of this, okay? And I'm gonna do the same with these here. You know, I'm going to come up here. Even though there's snow there, there's an intersection on these and it's only this group and that group, these here are gonna be different and that we're not going to mask those. But this one, let me just come in here and even though that's already got some snow on there, I'm still gonna hit that intersection. Just sort of kind of get a rough edge here. So I'll get these math and you get this one here. And here's a longer edge that I have to kind of ride all the way down here. The, I always I always kinda wanna do the Christmas tree T2. So it's, it's pretty hard not to do the CSF thing. So you're not masking the water? Yes, I am. But I can do that with a brush because those are simple lines, simple shapes. So in this case, I don't even have to worry about this edge because after I do these, is that okay? Then I'll come in with that. Was that one I just recycled here. Thank you. Yeah. This brush. And of course, you know, I'll just do all this. Of course, you know, fill that in and fill that shape and see the, Well, the first thing I would have done is go up here and do these x's. I would do that. So because that's just the first thing priority and then come down and fill this in and then on the waterfall then of course C, These are nice Feizi lines to follow. So all this use of rush for that, because I'm going to take a razor blade ultimately on some of these edges to fine tune them. So, but this rockets you, I'd like to make a nice clean edge there. There's no reason to use the pick for this. And now you can see here it's going to intersect that tree, which this will all get mass, but right across. And then on the other side, I'll just kinda come in here and come around here. And this is the edge. It's gonna get related with a straight edge razor blade, which I have those for you guys to and I didn't think you wanted to fly with. So okay. And then down here so I would fill this in, you know, fill fill all the waterfall area and there's just a little bit of the stream on here, I'll just mask out and this doesn't have to be exact is I'm going to come in at the razor blade, but maybe just carry a little white area across here, this sort of thing. And again, we'll, we'll fine tune that with a razor blade afterwards and have intersect will put little turquoise and Cyrillic and down here afterwards and then scrape that out. This will this be solid white? So this gets Mask. I'll put a big x. Good. I'll keep doing this while you guys are doing and that gets masked. And that gets masked. And of course this gets all mask. And of course so spots at this, this'll take a little time for sure. You will find that this goes pretty quick, actually the trees and then doing the big stuff. So even though there's more space here, it's kinda fast. You do want to kind of be careful when you're doing large spaces like this to make sure it's fully covering. Sometimes you can get these ridge lines that are really deep. I don't know if I'm getting inhale, see if I can do it. Just make sure it's covering. I don't know. Does that shown up? I do have ridges here. I think those are all free, but it's I don't know how to really explain. I if if you if you feel like you're seeing the paper through there when it dries, you might want to hit some of those because otherwise you're going to get a lot of these little lines go on holidays and yeah, yeah, yeah. Yeah. So and actually this is maybe kind of a course first for this, I think we have some other ones too that are smoother, but anyways, so that's at any, any questions on this. How long does it take to die? Not long. Not long because let's see. I just did didn't I do see those are dreaming is you can use a hairdryer. I don't think you'll have too though, because I think by the time you move down to here. Yeah. The other thing about masking and I was talking about this with someone earlier and not all masking or equal and I'm not the one that we use on us and that's the only good one. There's many good ones, that there's some bad ones too. So and I mentioned is somewhat very well. I don't know. I wish I remember that there was one. And again, as I was talking about that, I don't know if it was there, it was old or what, but it was this thing where you squeeze them asking out of a needle in a bottle. You know, it's kind of a neat idea, but the stuff didn't dry, really just gotten gone along. And they put all this time in the mountains and they can't rub it off and it was like it just smeared on and it got worse and oh, it was a bad thing because it was sad because she had so much time into it. So, you know, if you haven't used the masking before that you use maybe sampled will piece, make sure that it dries so that you can, because it should just use my mask and racism as soon as your finger if you wanted to. But you know, it should just pull up nicely. In fact, as I said, if you make a mistake, just let it dry and then peel it off and then go back and do it. Yeah. Don't try to dab it up when it's damped because it will smear. Yeah. And even if that happens, it'll dry and you can peel it off and the other thing, and this is not a concern right now. You could rural working on dry paper. But we will be maybe that made me not to that last painting, but it's worth mentioning now anyways, sometimes I'll mask over paint and that's fine. But you've gotta make sure it's bone dry. Because if you put masking on paper that has any moisture in it, of course, this watercolour papers like a sponge and it can actually kind of soak in a little bit and you can actually tear the paper. And that's another thing you know, make sure you're masking if, if if you haven't used it, that it is the types that'll come up. There's some that I've seen and sometimes it's probably not a great idea to leave the masking on forever. I don't know the answer of when that is, but I think that it can kind of set up any plastic material, rubber, kinda. I think it might get worse. Here's two. Well, it might even stay in the paper underneath to so I wouldn't leave masking on for months anyways.