Loose landscape painting using watercolor mixed with wax crayon - wet on dray + wet on wet technique | Agnes Bodor | Skillshare

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Loose landscape painting using watercolor mixed with wax crayon - wet on dray + wet on wet technique

teacher avatar Agnes Bodor

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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

7 Lessons (1h 8m)
    • 1. Introduction and project description

    • 2. Tools and materials

    • 3. Sketching and using the wax crayon

    • 4. Starting to paint

    • 5. Continue to paint

    • 6. Adding large shadows

    • 7. Finishing touches

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About This Class

In this tutorial I will paint a loose landscape using a photo reference. I will use watercolor and wax crayon, and mixing wet on dray and wet on wet watercolor painting techniques. The painting will take about 1-2 hours, starting with sketching  and masking light details with wax crayon. The painting part will start with wet on dray techniques putting down light washes, then continue with layering and wet on wet painting style. I will show every brushstroke from beginning to end and although it is not a beginner painting I think it can be useful for student at any level.

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Agnes Bodor


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1. Introduction and project description: Hi, my name is Agnes What art? And I am from Hungary. I moved to Seattle in 2007, and since then I live here and work in neurobiology. But to keep balance, I always adored to make art, especially painting. But also I made doing origami photography or whatever occupying my mind. My favorite technique was always watercolor and ink. I love to paint landscapes and portraits. But nowadays I mostly pay gaps. When I paint cats. I wanna catch there FOR that, BUT their movement, not just copying apart all what are Alice calculations? Also, when I use water or I wanna use the potential of these materials that their own UT, I don't want to use Euler amphora. I want to use them as watercolor. I think soon be used very slowly, very three. Let us go if this is enabled on paper. Because to make good, is it Waterfall are very, very important to understand the material to be able to control. Because otherwise it won't work. And on my watercolor tutorial, this is a crackling lifespan. To make you understand this very complicated math area, the water colors, and be able to use is beauty. But be it Master. Hi everyone. Thanks so much for choosing my Skillshare tutorial. Today, we will paint a landscape, The one you can see on a screen. So please download or print screen it because you will need later If you choose to paint this landscape with me. So there will be few things I would like to emphasize, which is important in this product. First of all, we want to use only watercolor, but we will use wax crayon to, using wax crayon or wax resist. It's not a new thing. You can see here, a painting from John Singer Sargent, but actually used in many paintings. Just this is my example to show. At that time there was probably, I am not sure about this, but he used just walks probably there was no wax crayon colored wax crayon, yeah. But he did he painted a base color, in this case, light yellow. Then he used the wax crayon to make those tiny details. And then he overprinting with the green. So wherever he touched with the wax, crayon, the paint, the water color paint didn't stain. And this is how he made the call or stay. And this is another example. He painted a bluish background event over the talks little wax candles. I tried, it's working. So if you don't have wax crayon, you can use wax, candle wax cannot. So then he went over with walks on the blue and then painted the brown on. And wherever he painted, he used the wax crayon. It stayed bluish. And this is very similar to what we will do today, but we using wax crayons so we don't need to do the underpainting. We can just choose the wax crayon with the right pigment in it. Although if you don't have wax crayon and you don't want to buy, you can try to go with the candle. It's working. I tried and I loved that. To paint this painting. As you can see, there are very thin light lines, especially on the right side, those vertical stacks. Or the tree on the background, which would be really hard to keep light during painting. So the idea, if you use wax crayon, Let's say light yellow, ocher color here. That won't disappear. A few over painted because the wax crayon resist water. So it resists water colors too. So you can't over paint. So first, in this project, we will have a light drawing with watercolor pencil. And then we put down the steam light structure, which are those trees, or three actually, the light vertical wood sticks which hit by the sunlight and they are quiet, thin but really bright. And a little bit, we will draw with the wax crayon those leftover liters, snow patches, which is because they are mostly in shade. They look bluish. So we will need a few wax crayon beside very light occurrence, yellow and the blue for the snow patches. I also used to draw those very thin dark lines. And dark vertical lines which the wood stakes in the ground. The vertical wood sticks which Irish shade, they look very dark. So this is kind of a mixed media because it's watercolor with wax crayon. So after that, this will be a mixed media painting. There is another thing what I want to emphasize, this is not about technique, It's about just painting freely, organically the view. And I'm showing my process and I'm explaining it, but I'm not using one technique, just clean. And there are few tutorials where I explained the techniques I'm using. And if you're not familiar and you want to understand exactly, go to this tutorial, wet on dry watercolor to or care where I explained the wet on dry painting method in a very, very basic level. And this other one, the blooming cauliflower and the curled up cat, contains two lessons, the two segments, the number 23, there are introducing the wet-on-wet technique. So I really want to emphasize in this painting, I'm using everything as it come. It will be, it starts on wet, on dry, but eventually it will be wet on wet. And on the end, I will emphasize wet on wet. So I will particularly use the blooming cauliflower effect. So if you have no clue and I'm talking about, It's good to take those up because it will help you to understand what I am doing and why. But this painting is not about one method or learning an explicit one method. It's using all the methods I already explained in other tutorials and generating a view, a landscape. So what is this project about? This project about choosing the exact right tool from your toolkit. So from all the methods or the tricks or the little technique, choose the exactly the right one to express, which express the bast, the view. So not about keeping one technique, not about learning one exact way to paint. It's freely tools. Lot. In this case, I think the best to express the view. So the aim is painting a landscape organically. So I hope is, it's, it sounds enough interesting that you will try with me. I promise. It. I saw every brushstroke. It's not speed up so you can completely follow what I'm doing and just replicate it. If you have a lot of experience, but you just want to try to paint or understand how I'd been. That painting is also good for that. Or if you just run up paint on your own, but you want to see how I am doing and you either follow or not that great though. So I'm showing my process and I am explaining it. And if I want to give just one sentence for the project as a project description, it would be to the robust tools from your toolkit to express that, that little thing that you maintain on that moment. See you in the next section where I will explain the tools and the materials you need to have to paint this painting with me. See you there. 2. Tools and materials: Now I explain you what kind of tools and materials I used for this painting. So first of all, the most important to have a watercolor paper, 100 percent cotton. Artist quality. This painting is on arch or Arches paper, 14 by 20 inches block cold press. So the same paper you can see in the image, but the size was 14 by 20 inches. There are many other good paper you can choose. My favorite is long-term prestige. This has also a block, 14 by 20 inches cold press which they called NOT y, I don't know. But that would be an excellent choice to choosing cheaper paper. It's okay. Kilimanjaro is a really good paper. I suggest that actually what I'm showing is the ticker on the 300 Abby via the two other paper was the thinner. But probably for this one you can choose the thinner one. Stonehenge is really good. And although I never used, but bleak has own brand, a 100 percent cotton watercolor paper. So that's probably something to try and probably cheaper. Other than that, you need several large water bowl, transparent or white so you can see when your water is degrading. So you will know when you have to change. I suggest minimum two, but that's really a minimum. So Sarah, I think and when you only have one clean laughed and you start the last clean, always bring in clean ones. Regarding brushes, there are many, many good watercolor brushes. You can choose almost any watercolor brush brand for this. I like the silver black velvet, but you can see right now, I prefer Princeton Aqua Elite or Princeton Neptune. All are excellent. You will need, if you buy the round, you will need, let's say at least a bigger, which is something between 16 to 20 and the thinner something between four to eight. But the more you have, it's better you have choices. The brush don't have here in the image, but I love it and I always go for it is the flat overall loss. Let's say three quarter inch from any brand. If you can afford it, it's good to have a snack. It's fine too. Other than that, what I used is the watercolor pencil. Almost any Notre, color is fine. This is just for sketching out the painting. If you don't have water colored pencil, just use your thin brush and a very, very light watercolor in it. Just in light gray or light blue, but very, very light and you can sketch it out with that or even pan cell. But watercolor brushes grade because the marks eventually disappear so you don't need to worry about that. It stays with him. So good brushes, one water colored pens there, middle gray or light blue or something like that would be perfect. After that, I don't want to suggest you to buy any specific new water color set or paint. I think anything you have, it's good. If it has, let's say at least 12 colors. Again, the more, the better artist quality of courses better than other. And I preferred to paint over pans or half pans because it's really small that for this painting, pens out, okay, too. So you want to have issue if you don't have tube paints. If you don't have watercolor paint. I suggest to buy a small sad from any good brand like Daniel Smith or, or Haram, those are my favorite. And then just by this dot card you can see on the image that contains all the 100 and hold the 238 colors and you can test all of them. Also, it's a tremendous amount of paint. So you can paint with it. The real painting, it's a lot of pain. But most importantly, or the properties of the paint is there. And you also can try and experience the properties of the water color paints. Watercolor paints beside a color have a lot of other properties like how transparent is it, how light fastening, so how it's Stay be read if you put it on sunlight, like for example, in a frame on a wall. So and other how staining is it? How easy to remove it after it's on a after you painted with paint with it. So how how easy to change it? So there are a lot of properties, it's all labored, but most importantly, you can test it on your own and choose your colors. So beside that, let's say 12 or 6 base color, you can cherry pick your favorites. In this painting, I used wax crayon. I'm really happy with this brand. And now color one, be careful because now colored one is wax, wax crayon, but now color two is actually water color crayon bought are excellent quality, but they behave completely different. I love bought. I have big sets now from both died. But in this painting we, using the wax crayon and wax crayon behave similarly like masking fluid. Where you put the paint won't stain the watercolor paper. So where you put white box Grail or even just walks, which is an ancient method. You will preserve the white of the paper. But if you paint below, if you use box is transparent. So if you paint below any color and wedded to dry and then use just the thin wax candle. You will have the uveal preserve the light, the color below the works. But also if you use the box Crayon, it's even better because you can choose the color right away so you don't need to paint anything. And I really suggest this thing. Actually you can do the painting without, but I think it's fun. It's halved the paintings. So if you can afford it, you don't need many color. Absolutely. Even the smallest set, like 12 or 6 would be enough. It, It's amazing product. Or even maybe you can buy by colloids. And whether I use a lot is the wipe, my favorite is Kim wipes, but it's hard to get and it's pricey. So now I tried other things. Just basic paper, kitchen towel is so far the best. Toilet paper, tissue paper is not good. It's fall apart sticking to your paper. So I'm not suggesting. And so if you have all these, I think we can start to paint. The only thing I suggest before you start to pay and maybe with a spray bottle, you can spray a little bit your paint so it gets a little bit loosen up before you paint and it's just easier. So you ordered they have reactivated paint on your pants sat, and then you need your paper. And we will start with using the watercolor pencils. So if you're interested, I see you there. 3. Sketching and using the wax crayon: So we are ready to work. Make sure you have the image downloaded or print screen on your monitor, on the back or SAML. So you can pull out when you need actually a where needed. And we can end your paper and and the water colored pencil. And let's start. So what I'm doing first, really, only in few lines and few minutes not spending too much time. I just cut out things. So when I'm usually doing is looking like I imagine a vertical line and I make imaginary four equal parts and the same on the horizontal line. And I just very vaguely tried to see what is where compared to those imaginary lines cutting the paper to four-by-four square. This isn't landscape, It's not a portraits, so you don't need to worry about the ratios. If it's approximately right, It will be fine. So don't worry about to be super precise about the drawing. It's more about the how I say. It's more about the feelings of the landscape. I think so. If it's a little bit different in ratios and stuff like that, it won't change anything. So you can see, I just labor very few things and why it is important. I actually labeling the things mostly to have an idea of where I will use the wax crayon. The wax crayon is finite. So wherever you put it, it stays there. So you kind of need to know where you want to put those wax crayon lines. And what I'm doing, I will use the wax crayon only few thing, for only few things. Usually it's good to use where TIN lines are alike. Doors, sticks, bought side, which I which are much lighter colored than the background because it's really hard to, when you paint with watercolor, is really hard to leave out those thin lines. And there is a tree or so which is tin light lines mostly. So you can see my wax crayons that I only use few colors, very few. You need probably, if you don't have too many colors, you would, you would need probably light occur or yellow. Maybe a light blue for the snow because there is a little leftover snow. And maybe you can go with two colors, but if you have few, you can play a little bit with the colors. Sometimes I use the dark colors to just 14 lines or dark brown or black. So you can see I just draw a few of those line. Again, don't worry how many things like that. Just Just get the feeling. Just guessed approximately right. So I'm putting the light, those light pause and reverb and I think it will needed. So you can see I'm using few more color drawing the darker ones too. So my eye on the end, I probably end up with using maximum five crayons. So don't worry about, but if you have different colors just approximately so use your yellows for the lighter, maybe your brown or darker, or even dark blue for the darker. And I used some tiny amount of light where I absolutely wanna keep the paper right? And I never tried Crayola, which is probably exist in every household, but I think it would work too if you don't have this fancy one. Other than that, you can use just colored pencil because they are Vox based tool. So actually I tried that. It's a little bit harder because first of all, it's pushing the paper a little bit stronger. Dance so you scratching the paper and it's easier to over paint. You're not careful, but it still would work probably. But I absolutely Other this wax crayon and I think if you don't have that brand, just use any wax crayon you have or Crayola and bolts scenario, you can use mocks, masking fluid everywhere. When I put the Crayola or the wax crayon line and wait for drying paint. Like night nothing, they're just ignore it. And on the end, when your paint is painting is completely dry, you can remove it and just over paint the divide with the right colors. So like yellowish or whatever it was. You and I always saw you can, you can replace the wax crayon this way with many things. So you don't need to worry about if you don't have wax crayon or you don't wanna use that. I just found it very useful. Actually. I bought this NAT along time ago, but now I always use it and I love it. So you can see so far I use two colors and now I'm using some bluish for the snow. So you can see there is a little leftover snow on on the left side of the scene. Not much. And because it's only in shade, shady area, it's local little bit like gray or blue or something like that. And the surrounding is darker, so I just draw it a little bit and so it won't disappear. And you don't, and you paint, you don't need to like going around light colors, which is really difficult with a water color. I like to use the water color a little bit rough, so with a big brush and more flowy. And it would be really hard if I want to skip this tiny little color patches. So thankfully, because I didn't use any thing, anything like masking fluid which need to be dry. Actually. As soon as we ready with this drawing, we are ready to paint immediately so we don't need to it. So in the next section we start. 4. Starting to paint: So let's start to paint. Make sure you have enough bowl of water around your minimum to, as I said, but more the better. And makes sure your paint is prevented if you don't have spray butter, just touch each colored with clean water with your brush and let sit few minutes. So you can see I'm starting with the hills and the background. Since I don't know exactly what watercolor set you have, you just choose the most similar color, honestly, and maybe even just watch the photo and choose the color based on that, although you can follow me too, but everybody has their own preference. So use your own watercolor. Said, I really don't wanna give any names or pigment names, because honestly, if you have a good set, you will have similar colors. So don't worry about what color am exactly using it. You can just choose the best, the most matching one. So what, one of the most interesting thing about this painting is that huge shadow was coming from probably a nearby hill or mountains because those are huge shadows. And so I start work on that even from the beginning. But when I put down those suits shadows entirely, it will be on the end. And so it's important keep things light. Because it's, if, if things goes dark, it's harder to even put under shadows on the end on. So keep things light, especially where no shadows, which is this zone in a front lake. Mostly it's on the left side, but it's it's all over and you can see one other light zone on on more, more on the background where I put all the yellow staining. So keep those try to keep those light. You band. And this is like start as vat, this painting start on as wet, on dry. So I'm painting on a dry paper, but as you can see, I'm not really waiting to dry. Again. I'm painting very organically and I'm showing my own process. So it's not an exact technique where we just practicing one technique. It's how I paint normally when I'm outside and I'm painting. I have several tutorial where I explain the methods, the clean methods. And I detailed all that information where you can find those clean methods which are the basis of the painting in the project description section. So if you not sure what's happening in the project description, I explained where you can find the the metal depology detailed. So here what I'm doing, I'm just using all those metals organically and try to figure out what can represent best the view on that particular spot where I paint. And as you can see, I'm using a flat, Wow gosh, which I love, but you can do it with a normal round for sure. But the advantage of this brush, you can turn around and you can have dinner read and thicker edge. But I'm switching back and forth between these brush and round brushes. It's really not a big deal if you don't have the flat overall Bosch. So as you can see what I'm currently doing, I putting light washes, probably, let's say almost like clean colors. I'm not really layering yet. And so I just put the colors Dan approximately everywhere. Very fast, very loose. And as you can see, the washes are very light. As soon as the washes get darker, it's much harder to change and harder to adjust the color. So it's watercolor always the best to start. Light. It's not like oil or tamper are where you can overpaid with a lighter color. Here, no matter what color you add to your painting, it will always darken the color, even if it's a light color. Because here, the light coming from the white of the paper and image in your paint as colored glasses. And no matter what color is your colored glass, when you put it down on the white paper, you block the paper white with every layer more and more. So you need to think about that. It's very different from other painting method, acrylic oil or tempera, where you can totally change the color just over paint with lighter color. Here you always have your first, second and every layers. It will always shine through to any colonial port because the water colored layers are transparent and your light is coming from the paper white. So when you putting down things that will just block the paper, write more and more. So now sometimes I over paint the first layer. It can be done two ways. One is when your first layer is not dry yet, that often means that the color wheel met together like flowing into each other. And you loosen up the first layer and it's often form blooms or caliph lowers. Again, if you're not familiar with divert. It's mentioned in previous tutorials, which is detailed in the introductory, introductory section. The other method is to wait entirely for drying for the previous layer. That's the classic layering technique, also detailed in one of my previous lesson titled your, your wet on dry watercolor toolkit. So the another tool I'm using all the time is dividing. You can see it's very easy to loosen up with water, the paint before it's dry and you just wipe it off almost clean paper, right? For me, this is a tool. I'm not considering that it's an ad or and I'm correcting it, my tool to vibe with the paper. The only trick with the paper is you always need to change it and make sure you use it the clean side of your paper so you rotate it in your hand because after you write once or twice, it's pretty dirty and it will stain the paper much worse than your brush. Stay in it because I don't know what it is, why it's happening, but you can really stain your paper on the level that you cannot remove after. Also, when your paint is dry, it's much harder to remove when it's semi dry or wet. So it's advantages to make these changes when you win closer to the time when you did it. So, so the more wet, it's the easiest to, to, to vibe. So I, I like to use transparent colors, especially here, the yellows and the oranges at transparent orange and transparent yellow and not the very chalky covering cadmium colloids. So if you have a choice in your set, tried to choose the transparent colors and not the cadmium colors. But if you have only cadmium colors, it's not a problem. Just deal you TDAP, don't use it very thick because they are quiet. They are more like goulash or tempera, so they are very dense paint and they can cover very much. It's not a problem. Also, I want to mention just if you want to paint as I do, I prefer to use in this painting transparent colors and also even the transparent colors I'm using very diluted. And you can see I'm just painting with like freshness and fast and not going into the details. I want to represent the overall view. Not trying to count the number of the stripe on the dirt or the sticks on the side. So it's not about that. It's more about the colors and the feelings and how the brushstroke can represent those structures or those movement in the photo. So just tried to mimic with your hand movement the shapes and structures. You can say. This is what I said. Just don't. Don't be nervous, Don't worry about it. Also, it's a practice, so don't expect everything goes perfect. But even it can happen. And if it happens it's good. But don't restrict yourself and being like very nervous and care for because then you won't get this freshness, this, this style. It will be very different way of paint egg. If you make it Careful. Also don't worry too much about the big, huge shadows which are covering like half of the painting because that I will put down on the end. So just try to paint the underlying structure in. Don't really don't worry about the big shadows. If you're unsure what happening. You can scan through before you start to paint. You can scan through the, the paintings, like how I did it and you will, you will have an idea. I'm, I'm explaining here now. So you will have an idea even without but if you watch it, you're not sure what I'm saying. If you watch a little bit into the into the future part of the painting, you will understand why amps, why I'm doing what? Because those big shading, it will be huge light washes on the end when all these previous layer closer to dry because I don't want to loosen them up. So now I'm more concentrate just representing the underlying structures. Because in a shade and in under the light, the structure is the same. And when you just put a layer of darker washes on it, it will keep everything the same, but it will be like a shadow. It will cover it. And it will make everything one could one tone darker. And so it's good to do on the ends together of those big shades. But I'm already thinking about it and I'm putting labeling where it will be so you can already see, but it will be much more prominent on the end when I do that. So just concentrate more about the structure, how that look very parallel and straight on the distance and look very, it has lot of shapes and structure in the foreground, so you can work on that. Also the background, the vine yard area on the sides, and the hills and the clouds. So lots of things to do here. So as you know, I have to cut the video about 10 minutes segments. So my first segment is ending now, I will continue to paint right away in the next section. 5. Continue to paint: So I am back, as you can see, I changed water. It's important with watercolor to work with clean water. And as you can see, I use my vibe again. Actually there is a trick how to use it. In the distance. When I'm working on these parallel lines in the dirt, I'm using very straight wipes because in a distance you don't see the details, you just see very straight parallel lines. But in the foreground you can see I came vibe very random shapes with my paper. And that's really good to represent the structure. You can see in the dirt. Because it's close. It's in the foreground. It's really look like little rocks. And with the paper vibe, you really can work on those structures. And on the distance, you can write very straight and teen line. If you 4D or WIP to have an edge and you just vibrate, that makes sure after one or two wipes you switch because it won't work. It just work once or twice after it just releasing mass back to your painting and that will be ugly and dirty and it's stain the paper much stronger. Probably because you pushing it into the structure. Because when you wipe you, you're pushing it, you hurt probably the paper surface. That's my idea. I'm not sure that's the reason. So be careful with your wipe just to make sure it's clean. So to have those parallel lines structure of that big field, it's important to kind of work on it. The only thing you don't need to work on it, as I mentioned previously, it's those big shades. Ignore that, just work on the finance fine structures and the parallel lines because those big shades will go on close, closer to the end as a light washes. So just work on the structures. So now I try to detach a little bit. With paint. In the background. I'm using, again, transparent color colors. This is probably transparent around when I'm using. And transparent yellows. I loved those colors in most watercolor set, especially if it's, if it's artist grade, they definitely have those colloids or something very similar. You can see the wax crayon really stayed visible, which is great, so we don't need to worry about tiny details and going around with the brush. Of going around of those tiny color marks which ABA snow patches and those steam stakes, it would be almost impossible to paint like this if you don't have the wax crayon or any other method to to something water repellent. So it's an amazing thing to use, I think. So now I'm working on the dark part of that parallel line structure in the field. You can see in a distant itis doing like very sharp straight lines, not detailing. And what I'm doing right now, as you can see, I'm using a team brush clean water because the paint is really satisfied in the foreground and I'm wetting it. And I just wetting it. And when I'm letting it, this is called wash back technique, which result blooms or Calif clovers. And so those are beautiful structures only watercolor can do. And I really suggest to use it when I'm talking about It's mostly visible on the right side, on the bottom. So you can see how those blooms develops in that orangey yellow color. If you look close, if you don't understand the words blooms and cauliflower or wash back. As I mentioned, I have previous tutorials where I explain it. It's the blooms, california and the curly DAP cat or something like this. It's mentioned in this tutorial to in the introductory section. So watch those then you will understand, but you can see it developing amazingly right just below my arm. Now you can see it on the yellow area. If you look close doors at very, very beautiful blooms structures, the sky is very interesting. This is probably a sunset, so it has a purpose. And other colors. When I use watercolor, I like to emphasize the color, so I'm a little bit probably more wild with the colors. I always look the colors in there using the cleaner version of the, of the colors. So anyway, when you work with watercolor, as soon as you use more and more colors, the mixing, and they get muddier and muddier. So with watercolor again, it's, it's really advantages to start with clean colors and always using clean colors. Because as soon as they met and layer David lose the brightness anyway, somewhat. And also watercolor has big drying shift, so when it's dry it will be always a little bit more muted. So don't worry about using really bright colors. Actually, I think it's a good thing. Use your bright colors and use them clean. So don't premix it. It will mix on a paper anyway because everything previously there will shine through. So it will mix on the paper YOU paint. So I'll put many colors in the clouds, as many as I can discover it when I'm looking at it. And it's true for everything else actually. In the foreground. You can really see many of these blooms, blooms structures, which is not happening with any other painting method like damper or oil. That's very unique for watercolor and it's beautiful. And I saw many times people consider it as bad. And I understand in some methods it's really bad because you want to work with clean washes or stuff like that while I love it and I use it and many other painterly with a lot. It's beautiful. So you can see on the distance there are things like houses and staff. I'm not trying to paint little houses, they're just little color patches represent that is structured there, not just the homogeneous one color surface. So I'm just labeling them. And although the that close by Hill really reddish brownish in probably because it's at home or winter or so because it's probably sounds sad. But the distance, It's a little bit less intense, more like darker grays, bluish. Now I'm adding little darks in the deeper part of the of the dirt lines. It's not black, it's probably dark, bluish. I when I paint especially landscape and stuff, I never use black or white. Or very rarely, let's say I'm not saying never, that's not true. But it's very rare. I because eventually when you mixing the colors, you eventually get like this muddy dark color anyway, the black, we'll kill the colors much faster. So it's not worth it if you need add on the end, but tried to avoid it when you paint like this bright color landscape to using just plain black and the white will really change the transparency of watercolor. So that's again, a very rare thing I use. Only if it's very reasonable to use for lighting colors. I never use it. I have to cut my video again because ten minutes is Ganz. So see you in the next part. 6. Adding large shadows: So I am back as you can see, my water is clean, at least one of them. And the paint looks much lighter. It's because I I let it dry for a few minutes. Maybe tan. Also. It's not dry but dryers or some area where I didn't work for a long time. It's drier obviously, so and in the foreground it's still kind of semi dry. I'm using my brush to still working on a structure. And the big shading which I will put on this session about five minutes from now, but I will let you know when it's happening. But it is important. You need to let the painting sit and little bit, at least, I would say 10, 20 minutes before you do this. How to test it, touch it, especially on the field area, that it with your hand. And if it's not stay in your hand, It's good. When we will add the shades from the hills or something in the area with putting those big sheds on the field. So when we adding that, we will use a light wash covering most of the field area and we don't want that loosen up the previous layers. So this is why it's important to have like a dry, dry. This is why it's important to let it dry. Not 100 percent, but almost 100 percent. So I will let you know when this is happening. So let it sit for a good 10, 20 minute. So as you can see, I use some purple on the snow. I didn't like it, so I removed it. It was just too reddish. So now I'm using another bluish purple but much colder color, not the warm reddish one, but a cooler tone like more like dark blue in. And now I'm just adding little details here and there. Just make sure that it's ready to get those big shadings. After that, I will work another 10, 15 minutes on just finishing up. But where those big shading, you have a limited way of painting because that will be a light. Wash. Light. I mean, the painting we'll stays transparent. It's not a light color, it will be a darker color that regard it's a dark wash but still transparent. And if you, if you start to like, do lot of things that we eat. By paying and adding too much water, it will change the integrity of that wash and it will be not as good because it won't represent that big, homogeneous shading shade, shadow coming from the hills. So after we add that, we have much more limited situation, at least on the field area that we can do and what we cannot. So I'm trying to prepare for that. And now on I'm starting to work just mostly outside of the field area because I already starting to dry it up. I like how it is. I can see clearly that the parallel lines, there are some structure on the foreground and more straight in the middle and the far. And so it's kind of ready to to receive the shading and we can add details on the ends or that regard. It's okay. We just cannot add or voyage back to match or cannot add big amount of paint or water or wetness. So so now I'm just letting it dry and tried to work mostly in a distance or outside of the field. So you can see I'm adding the little line structure on the distance to which gave an amazing perspective for the, for the landscape. And wherever I see color me saying or structure, me saying I can get there and give some representation. Two doors, for example, like houses. I think you can really feel that our houses front of the little hill. But I really didn't go there to paint little houses, so it's just little shapes and color patches. So this is the point when I let the painting dry and mine is quite dry. So you can see I have a transparent brown wash and I using a big brush and I tried to not massage my paintings a lot. Just painted over pretty fast, very even, very even wash. And that will give you the, the shades, those big shadows. So the trick is really just go one layer fast. And when it's wet, I'm not going back too much if it's possible because I want the previous layers it and not loosen up and mixing. So I'm just looking where to put because I don't think I will have too much tends to change after. As I said, some detailing will happen after, but but not. Given things you can't do after unless you, you, you, you break the integrity of this light washes. So how I see this big shadows, they, they really give you immediately the time of the day. So you know, it's either early morning or evening, so either sunrise or sunset, because otherwise you wouldn't see this huge shadows. They must come from. Nearby. Hills are big structures in the, in the landscape. So I'm still adding some details. Now. I'm kind of Dan of the main washes, the main brown, light brown or not light brown. It's transparent brown. The main transparent brown washes. So now I just tried to get more to the smaller details. Which is the, especially in the foreground, which to paint the shapes or, or the representation of the dirt. So we need to add some structures there. So you can see it's not not super smooth surface. It it has those big chunk of dirt all over. But of course, when you go further down from the foreground, they not visible anymore. So it's only important in the foreground. So I add small strokes. And I'm trying my best to doing this loose and not worrying when the details just a fast movement, which I hope will suggest that you though, that structures in a dirt. So my ten minutes is approaching again, so I will see you in the last section, which is the next one. 7. Finishing touches: So I am back. I am now very close to the end. I'm just adding a little color because the drying shift was very strong, so I lost some brightness. I'm using bright transparent yellow of the sunlit areas here and there. And hoping it, I won't lose the brightness of that color and it's drying that much. So now I'm using my thin brush with some water in it, clean water, and I just add little touches which generate blooms. So I have to admit these blooms were more intense than I thought. It will be. Probably because the paint was too wet still and they spread too much and they washed back the paint a little bit too much. So just in the very bottom area, I lost a little darkness, which wasn't my plan. So eventually I have to add back a little bit, but I need to wait until it's dying. But I got beautiful blooms honestly. But just a little bit too, it was a little bit too much. Actually, if you look at Beta screened, you still can get that dark shadow on immediately on the bottom. It just got lighter than I wanted, but I cannot treat us right now. It's too wet. So now i because of that, I'm just going to other areas and using my wax crayon to add details. So I'm using some olive green, darker color to touch it. And then I want a little bit more. I went a little bit more. Exactness of that tree in the distance. Not too much. I don't want it really dark, just few touches hidden that to get it more visible. But not like lining up, lining through every branches. So adding white crayon and little bit lighting up the snow and dark crayon because it's really good to add tin. Straight lines, easier than we'd brushes. So via the foreground dry because I want to read up to it. I go a little bit for the distance and just making smart touches here and there. Really not much because I like the background as it is, and I wanna make huge changes. Just I push than the brush, a little bit hidden that to add some more strength to things. But on very few places because you don't want to do it everywhere. Actually, it's a tool in your hand. You can make the things you want to show more exact, more sharp, and you can loosen up and ignored those areas, but you don't want to put the attention on saw. It's a good thing to alternate those things within the painting. So also, I am, I know I told this but I'm using squinting a lot. Screamed to the photos go into your pain. And that's the metal to get the volume so you can see the darkness. We're somewhere darkness missing. So it's kind of take your attention or your vision off from the color and give you more just y-values. So it's easier to see where you need darkening or lightening if it's still possible. But in the case of watercolor, it's mostly darkening. And as I said, it's obviously too much washed off happened just right on the bottom of my paintings. So I just added some color back there where I lost it with the watch back. So that's what I'm doing right now. And when I'm squint, I already feel it. I got it back, so it's okay. And so I kind of feel I am pretty close to the end and I will finish it up. And actually I did. But I have to tell you the truth when it dried and you will see right now because it will see a later stage, it just lightened up quiet a bit here because of the drying shift. So I went back a little bit to touch here and there. But not much I can do about the drying shift. So I just did a few was backs because I lost the previous around because it was just too wet. So I'm using again my thin brush and clean water to add some blooms, which I love. And I want to have it especially in the foreground, which is the bottom of the paper because I want there to get some structure for representing the funkiness of the of the dirt there. So that's why I'm doing it. And I think not much as I can though. I hope you learned from this process via the that you did with me and you saw exactly what I did and why and what worked out and what not. I hope you enjoyed it and like that. If you have questions or comments, please post it and post your result. I'm very curious also if you have questions or problems, let me know. I tried to have and I hope to see you in my next tutorial. And thank you that you stayed with me.