Luminous Watercolor Landscape | Elizabeth Rohrbaugh | Skillshare

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

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

Lessons in This Class

11 Lessons (54m)
    • 1. Quick View

      0:16
    • 2. Welcome

      0:19
    • 3. Paper

      3:43
    • 4. Brushes and Paints

      3:21
    • 5. Sky

      3:09
    • 6. Background Hills

      9:34
    • 7. Foreground

      11:28
    • 8. Adding Contrast

      7:35
    • 9. Adding Trees

      12:26
    • 10. Finishing Touches

      1:41
    • 11. Thank You

      0:36
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About This Class

Do you love painting with watercolor?

Do you love capturing the beauty you see in nature?

Then this is the class for you!! I will teach you several different watercolor techniques in this tutorial and drop a few helpful hints along the way! 

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Meet Your Teacher

Teacher Profile Image

Elizabeth Rohrbaugh

Watercolor and Acrylic Artist

Teacher


 

Well hello there! I'm so glad you're here!! I'm Elizabeth. I am a self taught artist with a love of painting. I primarily paint in watercolor and acrylic and I can teach you to do the same. I'm honored that you've joined me in class! 

Art school isn't a requirement to be an artist so I hope everyone feels comfortable here. I try to break down my lessons into simple steps, with just enough instruction to be helpful, but still allow for your own creativity. Remember, there really are no rules in art! Maybe that's why I love it so much! 

So grab your brushes and some paint and join me in these classes. I'd love to see your paintings too so please feel free to share them in the projects and leave me a review if you're so inclined-I'd be fo... See full profile

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Transcripts

1. Quick View: 2. Welcome: Hello. My name is Elizabeth Rohrbaugh. Welcome to my studio. And welcome to my skull share class. I'm a self taught artist and I love to paint in watercolor and acrylic, and I can show you how to. I believe artists for everyone and everyone can reap the benefits of this practice, so let's get started. 3. Paper: today, we're gonna paint a simple landscape that encompasses a lot of lessons in water color. So we'll start with a basic wash to get the sky in some of the background. And then we'll build up layers as we go, but still leaves some of the white to allow some contrast. And that's what gives this little landscape a lot of glow and a lot of impact, even though it's small in another trick that I wanted to share, I'm going to share a few of those during this lesson. We're gonna make this fun is this is on Lee a four by six piece of watercolor paper, so it's quite small, easy to do very quick. But when you put a large, wide matt around that look at the impact that it can have so you could get a standard Matt cut, or sometimes you confined these in a craft store on discount. That's where I found this one. It's just a neutral Matt, but it's wide and then frame that to a standard size and you've got an impactful piece of artwork there. So let's get started, and I want to show you some of the materials that I used for this painting. These little cards, this four by six could be a piece of any kind of watercolor broken down. But I happen to have some samples that I had received from a workshop, and I'll share that without the glare. These are in particular Kilimanjaro four by six, and there are £140.300 pound paper in this pack. I choose to use £300 because it accepts washes so much better. It doesn't buckle. £140 is still perfectly acceptable. Most watercolor artists use that, but I wanted to share this in particular. I received this from Cheap Joe's Workshop, and you could likely call them and get a sample yourself cheap. Joe's, Jerry's Arda Rama Dick Blick Any of the the major art supply stores probably have some of these in on hand that they could send you if you call and just ask. I want to try a sample size. Otherwise, it's simple enough to just cut this down, so I just want to show you really quickly the different types. And there's a bright white and, um, they call this one a natural white. You can kind of see the difference there against this white background. These air 140 then I want to show you the 300 just for a reference. Now you can't tell much difference there, but the thickness. If you look at these, you may be able to tell this is 140 you can kind of see how easily it offends. This is very stiff. This is 300. So those are the ones that I prefer to work on. Just because I don't have to worry about the watercolor wash is that it will accept. So that's the paper that I'm going to start with. A £300 Kilimanjaro four by six sample again. You can use any watercolor paper you have on hand just a long as it will accept the wash 4. Brushes and Paints: let's go over some of the materials that you use for this class. I've already mentioned the paper and given a description, the second tip that I wanna share with you is this blotter, this homemade blotter that I want to give credit where credit's due. Susan Kraut shared this with us, Uh, at a workshop. Um, but this has worked perfectly for me over the years. I've been using it ever since she shared that. It's a simple Tupperware plastic type container. And yes, this is a roll of toilet tissue and you squeeze that so that it fits in the container. And then I wrapped over top of that just several layers of paper towel. And the absorbency of this blotter is just perfect. I can't explain why, but it works every time. And over the years, of course, I've changed this out. As this gets dirty, you can remove the paper towel and then just still keep the water or the toilet tissue in there, and it takes off the perfect amount of water. As you use it, you'll get very used to how much you need to block, and it works. Great. The second tip, I want to share with you is I prefer these watercolor brushes. Now, in a lot of classes that I have attended, um, artists get very particular about what color is that? What brushes that in reality, whatever works for you is what you should use. However, I think it does help to get recommendations from other artists. And I have just found recently that I love these black velvet silver brushes. I have several sizes, even up to a size 16. But I find over and over again. These are the ones that I reach for, even though I have multiple other brushes that I could use, they are not very expensive, they're a good quality. And when they're wet, they really hold a sharp point. And that helps tremendously. When you're trying to do some detail, I have a water bucket. Any water container will, you will do, of course, songs. You've got some fresh, clean water, and I'm going to show you my messy pallet. I have tended to use this over the years because I like to be able to take it and go if I have the opportunity to paint outside, and this one just seems to work really well. It's, um, a sealable watercolor palette. You can probably find it in any craft store, but it's got a removable tray on this side that you can pop out if you want to create washes. I just add extra paint there, and then it does steel fairly well. It's got a little rubber, um, band that fits in here. It's not water tight, so if you are traveling, I would still put this in Ziploc bag. But it's worked for me and it's inexpensive and it keeps my paints fresh and available to use at any time. That's about it for the supplies that we need, So let's get started. 5. Sky: So I first step in Creating this landscape will be to paint a sky in the background. We're gonna dio just a very soft wash and I will include a list of the paints that I use. Um, I favor Daniel Smith watercolor, but I have several other brands. And again, whatever works for you is what you should use. So if it's a particular blue that you like and that you found works well, when you're creating your paintings, stick with that. It doesn't have to be exactly what someone else uses. I think we as artists get a little bit too hung up on that sometimes, and the whole point is that you're painting and experimenting and seeing what works for you . So in this step, I'm on Lee, adding some clean water to create a wash. And I'm just brushing that back and forth down the page because I want that sky to come down about that far, and I'm mixing up just a bit of light blue. It is a little bit of ah, a slate blue. In this particular painting, the sky is not the focus, so we're just laying in a very soft background Essentially, you don't want people to necessarily pay attention so much to this guy. So if you'll notice, I'm only adding color really to the top. And as the pigment moves with the water that will gradually become lighter and lighter. I'm not sure if you can see that in the video, but it's already happening, and I just want a very light wash. If you like a bit brighter blue, you can add a little bit of that for some variation, and I'm just kind of dabbing that in, and because I've already wet the page all the way down to here, it's carrying itself. The pigment is carrying itself down the page, and I want this to be very light here in the background at the horizon. Another tip for you, especially if you're creating things from nature, is to go outside and simply look, look at the horizon line. Look at the sky in the difference in the value from the top of your picture frame that you're viewing to the horizon. You'll notice it's brighter and deeper and richer color here than it is at the horizon. So while I'm talking, this color is already traveling down the page beautifully. I don't need to touch it. So for the next step, I need to let this dry just a bit. So we'll we'll do that. You could speed it up. If you have a hair dryer, I prefer to just let it dry naturally. So I'm going to do that and we'll be right back for step two. 6. Background Hills: now that this guy is totally dry and you can you can touch it with the back of your hand if you're concerned. But I know that it's dry. Um, I've waited long enough. I'm going to lay in just a hint of some background hills. Not really mountains, but, um, something in the distance and watercolor typically dries a bit lighter, so it's OK that these are This is a little bit bolder than I maybe would have planned, but it's OK, and I want something sort of pinkish purplish. You can mix any of the colors that you have that you like, and I'm wedding my brush, just barely blotting it off. And I want to soften this bottom edge. So we've got a nice soft horizon back here from the sky, and things in the distance are not going to be visually as clear as something up close. So that's why I'm kind of blending this out quite a bit. It's okay to have that top edge. You could even soften that if you want to take a damp brush. So I've rinsed it, barely blotted it off, and I'm just sort of tickling that top edge and pulling some of that pigment down. If it dries too quickly, you can sort of scrub it away with your your brush and some water. But I wouldn't worry about that too much. We're going to cover most of this up, so I kind of softened that up. And I just want to show you one other trick. If you feel like it's still too much pigment, you can always blocked off. That doesn't take all of it, but it does take some of that color away, so it's really depends on your preference. I want just a little hint of that in some of the areas of top there. So smooth that back out again, Okay? And I think we can go ahead and lay in. Um, just to be sure. I'm just dabbing below that to make sure I've got most of the water off, because I know that was dry before, and I want to lay in some of the hills in the back, and for that I'm just mixing up some green, maybe a little bit of turquoise. I always throw that in thing. That's just one of my favorite colors. You might have sort of ah, quote unquote signature color that you enjoy using two. But turquoise happens to be mine. And you're doing this sort of in layers, if you can see so the sky and we've got a nice, bright, um, almost white horizon, and you can see where that it's sort of bleeding up in there. So I touched a little bit of the moisture there. That's OK. We'll just block that away. It'll blend out. We're gonna cover most of this up anyway. And it's OK that it looks a little bit soft there. So I'm just mixing in a variety of greens. I have a cascade green from Daniel Smith, a sap green. Um, you can use a gold green sort of depends on what time of year you want to indicate that this scene is is in. And that's one of the reasons that I wanted Teoh do this class because, honestly, you could do a little scene like this with as few of colors of paint as you like. You could use just one. This could be monochromatic, and that would be a great exercise to start with. So a tip. If you want to practice and you don't have a lot of materials. Guess what? You don't need them. Go ahead and practice with a navy blue or a sky blue. Whatever you have on hand and look at the values. Look at the depth of color. How strong you want some of the colors to be in different places, and that is a great lesson in and of itself. I've added just a little bit of turquoise there on that hillside, and I'm going to add a bit of quinacrine own gold again. These air, the colors I have. You can use whatever colors you have. And this gold just kind of gives a little bit of a sunshiny feel on that hillside back there. Um, and it's OK that I got a little bit of bloom of that water that kind of pushes the green away a little bit. I kind of like that, and I'm going to carry this green down just a bit and sort of even out that bottom. Now it's drying pretty quickly here on this paper because I pulled up some of the moisture . So be aware of that. I want that white spot there, and I'm going to allow this break vibrant area to stay. I like that and I'm just adding in a little bit of deeper color here along the edge. And that will sort of blend back up into those areas because what I want to do next is at a band of gold. Golden yellow. Um, it's the time of year. Right now we're heading into October. It's sort of the end of September for me as I'm recording this and when I drive to work, I live in the Midwest in the US, and I see a lot of fields that are ready to harvest in that golden yellow is just beautiful . So that was sort of an inspiration for me for this. And that's why I want some of that color back here on the hillsides to So my choice for that is quinacrine Own Gold by Daniel Smith. If you're if you are interested in the exact color amusing, but again feel free to modify. I'm gonna add in just a little bit of a brighter yellow in places for some variety to make it look like there's a little bit of sunshine in those grasses. Carry that across here, so I've got a really bright band and I love that color. I'm adding in little dabs of slightly more concentrated quinacrine on gold back here just toe kind of separate that Give it a little variety there, too. And I'm rinsing and dabbing my brush and I'm gonna pull just a tiny bit of this away Just so we don't have a rough edge for the next step, Just soften that off. It doesn't have to be perfect. We are going to cover this part Oppa's well and really where where this water is moving quite a bit, that makes it look much more organic and free and beautiful Love that variation. And there that's the beauty of watercolor. So don't try to fight it, let it work for you and give you all those glowing benefits that you're looking for. And again this will dry a little bit lighter. So I'm just adding in tiny touches of that quinacrine own gold to make it look natural like a field. And we're gonna let that dry again right after this step. I'm just gonna add a tiny bit of darker green back here. While that's still wet. I want this to separate just a bit in these areas and break up that line. It provides a little bit of depth. Naturally, when you have some of this variation in color, in contrast, so kind of as just another layer, you see how quickly it did. That kind of pushes everything back one more time. So while that's still wet, then we can push up some more of the yellow if we need Teoh, and that is a beautiful green gold as well. Soften those edges there. Perfect. So let's let that dry and then we'll come back for the next step. 7. Foreground: So we've got our background laid in, and this is nice and dry. We're going to lay in some of the foreground and remember, in this piece, we're gonna leave some white, so it looks like reflection on the water. But this beautiful gold. I hate to cover some of that up, so I'm going to make this a little bit shorter. Then I had originally planned just because I love that vibrancy right there and sort of have a meandering kind of water line here. So I'm starting with some of the green, and this is wet on dry. So the paper is dry, and I'm going to just sort of map in with my brush kind of where I want this to go. So there will be a water line back here. Leave that nice and light for now. You may durkin that up just a bit later. Keep this wet and this is going to be sort of some overgrowth, some bushes and things. I want that to kind of come out here sort of twist around. It wouldn't look very regular as you're doing this. And this is I'll have a materials list for the pink colors. This one is actually called deep sea green, and it's beautiful, and I'm mixing in a tiny bit of that turquoise to kind of bring that color from the hillside there in and just because I loved her. Khweis. It's one of my favorite colors, and then we'll have this come over this way. Maybe I'm kind of finished there and have some of that that white. I want to protect it. For now, we may feel some of that in in a little bit, so I'm just adding different depths of green. A little bit of Daniel Smith. Green Gold is a beautiful warm color, and again, this is sort of a fall timeline. So I'm adding in tiny bit of quinacrine. Own gold here is well and letting these colors move together on the camp on the paper, while it's still a little bit wet. And the way to do that is to keep ah, a bead of water here along edge, and I'm kind of bouncing back and forth. You have to move a little bit quickly when you're doing some of this. I'm going back and forth to each side because, um, I want the colors to still continue to mix. I went there to be some dark areas and some lighter. So to accomplish that, the lighter colors I'm just using a lighter wash. So I'm carrying some of that color down and we'll go back over this again to deepen some of these and to, um, take out some of the harsh white. We won't leave it so stark, but I want to preserve that just for now, just while we're getting this kind of mapped out, if you will. And I love Daniel Smith quinacrine own gold. That's what this color is that I'm using here. It's sort of it's such a rich, beautiful yellow it really sort of. It's almost like liquid sunshine on the paper. And while this is wet like that, the colors air gonna blend so beautifully. So I'm just kind of dancing back and forth with all of these colors, and you want that kind of variety you want, um, lightness and dark. You want warm and cool. This one is tending a little bit warm, and that's okay because this rich gold is kind of what we were going for before, So letting that quinacrine on gold play in this these fields is perfectly fine with me. I really like that. And I kind of like this bright little area right here to that shining through. So I'm gonna leave that as well. While this is still moving back here, it's not really a horizon line, but it's sort of the edge of this field. I'm just gonna deep in some of that color. And that kind of pushes that this golden field back a little bit more and again, some variation with blue, some variation with green and just the indication of some bushes. And another way I can do that is I rinsed my brush, I blotted it off, and I'm just sort of sort of rubbing that paint around. I want I don't want that to be such a stark flat line there and maybe a few more over here , and we can deep in those colors as well. And let that paint just move around while it's still wet really draws the eye when there's a lot of contrast. So you have this this bright white here and then these dark sort of ah shadow colors that air along the water. Then that carry up into the bushes. It really adds a lot of visual interest, I think, to the peace and even kind of coming at it from this angle and just pulling just barely tickling some of that. So feel free to use your brush in different angles and different motions makes it look more interesting. I'm gonna pull this just at a little bit of grounding there. It's usually a little bit darker, right? Where the Landis meeting the water. They're kind of smooth that out stream over here. And we still have that That nice little, uh, glow that we were looking for. And remember, nothing is really designed in something like this. Were kind of looking at just indications. I just wanna just annoyed idea that our brain consents that Oh, there's there's land there. And then there was water in one way to make these sort of reflections that we saw at the beginning is, while this is just barely damp, I just want a light amount of color. So I've got a damp brush, and the edge of this line here is still wet, so I'm just gonna pull a little of that down and you can blot off if you get too much and just kind of barely touch that, just like we did with this guy. So I said, There's a few lessons in here. We just want an indication of that reflection in this water. So I'm just kind of pulling that across there. And if you get too much pigment, you can always pull some of that back out. I kind of makes it look like water, too. So it's just a hint of the colors that air around it, right? It's gonna pull that across, go back in and rinse and blot your brush. Pulse more out if you need to. Don't get rid of all of your white. That's the usually the hard part. So I'm gonna leave a little bit more up here and just kind of go along the edge of the land there. Leave a nice little patch there, and I don't want just plain white here a the bottom because that kind of carries your eye off the page. So I'm adding just a little bit more color into that, just a tiny bit, not so much that it looks like it might be ground cover, but just enough that it's got a little indication that it's not stark white, and this is still kind of moving here so I can pull some of that back out, make that shape a little bit more regular, and we're gonna let this dry and come back in and do a little bit more detail work. And if you want some highlights in the bushes, too, if it looks a little bit flat or a little bit darker than you may be intended, pull some of those out. Just add some variation that way, which is nice, really, against this, this nice golden background here, pull some of that back out. So remember, you can always go darker. You can always add another layer, but you can't get your white back. So I'm going to stop there and we'll let that dry and we'll come back to finish it off. 8. Adding Contrast: in this next step, we're just gonna add a little bit more contrast and just, uh, some visual interest by deepening some of the areas at the base sort of of these grassy areas where the land would meet the water, you would expect it to be a little bit darker. So in this area, for instance, and I'm just laying in just a tiny bit of the darker color a little bit of green, maybe a little bit of dark, um, in to go. Turk blue pushed these back just a tiny bit. And it just indicates some of the shadow the same right here. Would you allow a little bit of interest below that to sort of indicate of reflection? But I like this dark a little bit of the dark blue in the dark green, just a sort of punch it up a little. And while that's still a little bit damp, I'm gonna blend that out and kind of pull that into the water just a tiny bit. You can kind of indicate that this is another area of grass is over here and soften that line underneath if you want. Well, deep in that. Yet again. It's sort of Ah, dance. I like to think of it that way. Um, and the good news is it could be forgiving in that you're kind of adding a little and then you take some away at a little, takes him away. What that does is just kind of break up the landscape a little bit and we'll do the same over here. I don't really want any harsh straight lines too much. So I'm gonna soften that and can Kind of just brushed that up a little bit. Indicates, um, grasses in the same back here. Wherever it's still, the paint is still soft and can move. You can kind of indicate some tree tree or bush lines. You know, the stems, some of that would, and this is still wet here. So I want just a little bit more shadow right there by that water line, and it what I like about that is that contrast. It really draws your eye to that point, and I've got just a tiny little bit. You might not even be able to see it on this camera. Tiny little bit of, um, yellow and turquoise in here. That kind of catches the eye like a little bit of that hidden interest. I could maybe exaggerate that a little bit so that you can see it softening that up. And I like this golden highlight here. A the edge right along here, sort of the top of those grasses, and it's OK that there's a little, you know, some blooms of water here. This is all meant to be sort of a regular. That's okay. There I add just another little touch of turquoise. You can watch that move a little and then bringing a tiny a tiny, tiny bit of that into the water. I don't want to ruin all of that white that we've left because again, you can't get that back. But just some variation sort of to deepen that, because next to the land there is where the water would be darkest. You wouldn't see much reflection necessarily back in there, so there's a tiny bit there that's OK. We'll just kind of pull that through, softened this up again. You can plan to leave whites in paintings, and the easiest way to do that would be to use some masking fluid, and I didn't want to be that controlled with this one. I like this to be bit more organic and, um, a little freer, but you can certainly use that in its invaluable if you I need to make sure you have a highlight on a pedal. Or, um, maybe even if you were painting highlights in the ocean and waves, same kind of thing. I'm allowing some of this dark to stay. I really like the contrast that that's offered there, just barely pull that out. And I think that just adds so much interest having that dark up against the light. I'm gonna deep in this one right here in the front just so that I kind of travels back into their right. So this these layers of paint that I'm putting on right now are much thicker. It's not really a wash. It's almost the consistency of an acrylic paint. And I'm laying them down so you can see that it's not moving very much. And that's kind of what I want here because as I put the paint down, I'm going to add a little bit of water to kind of disrupt that just a tiny bit over there. So Then I rinse my brush and I blotted off and ever so slightly. I'm just gonna sort of tickle these edges and that'll soften any of those hard lines that might look, um, kind of stiff there. And it makes the indication of some plant life a little bit of grassy area, maybe softened some of that. So I think that's it for that step. Really? Like how this is very light. We're gonna add some trees in the next step, and that will call attention to this even more because we're gonna have some darker objects back here. So that will be our light source, sort of our focal point, and it leads the eye into the painting, so I'm gonna let that dry and we'll be right back. 9. Adding Trees: Now we're ready to finish the last step of this painting, and we're going to add some trees that are somewhat in the foreground, starting here and reach up over this area here. So we're going to add some colors that will be a bit transparent, but also indicating that they're all all of these trees air in front. So I'm just mixing up a few colors and I want the base of that tree to be a little bit dark . So I'm gonna lay in just a nen vacation of where the leaf part of the tree might be. So you get an idea here, and I'm just using clean water at this point just so you can kind of see the general area and I'm going to then add in some of the pigment and have that move very freely. We want this to be relatively dark down here That gives a beautiful contrast with this gold yellow. I think I love, love, love, love blue and yellow together. So these are just a dark blue, turquoise sea kind of variation with a little bit of dark green, and you could add in whatever colors that you have an affinity for so again I loved her. Coy's add in a little bit of that, and you can see how this color is moving a bit up here. I love the spaces that are left here. Toe let that kind of shine through. So I'm going to allow that to just continue there and maybe add in a little bit of golden yellow up here like the quinacrine are gold have that blend in, and it's okay to have this sort of extend up into the sky a bet. Some of this will be a little transparent there to show through, uh, some of those mountains that we had in the background and that's OK, these colors. We're going to move a little bit, so I kind of got a little more blue than I wanted necessarily right there. So do you see how I can pull some of that color out? That's another tip I want to show you. We kind of talked about that down here in the water. Watercolor isn't always disaster. Aly permanent. Like some people think once you put it down, you've got no salvation. I don't think that's true. You can minute me manipulate things quite a bit while it's still wet. So that's the trick. Sarah just laid in a little bit of, ah, tree trunk right there letting that fall into the dark, just a Nen vacation. And so to pull. Some of this blew out of here, whether I wanted it to be brighter like this, who added a little bit of turquoise that's beautiful or let's make another tree and we could maybe add in a little purple, um, some contrasts and could some variation. I'm leaving a bit of this open area in the front, especially this, because this area is my favorite, and that could change with every painting that you dio. Hopefully, you'll do this painting multiple times. I think that's a wonderful way toe. Learn to practice and to get rid of the jitters sort of speak. And I'm making this tree a little bit taller and thinner. And so you you may want that kind of variation in your painting us well, and I might just add another one right here on the edge. Some of this would be covered if you were to frame it, which is fine. I'm just putting in some a little bit of water at this point, and then I'll add in some of my darks and let those start to move and again. If you want some variation, pick up some different colors here, so dark can be any number of things that one happens to be purple, and you'll get a nice variation there. You could add in some Eliza ring crimson, and once this moves around a bit, you'll get a nice little glow of pink, which would be very pretty. I'm going to warm this up just a bit. I wanted a little bit more yellow up there and kind of pull some this blue back again. I just wanted a hint of that vibrancy and the same on this side. If I want some of the lighter colors appear, let's some of those little spaces shine through and where this is still wet, this pigment will move. So we'll let that pinker that magenta and that purple kind of carry up alongside their and blend into that who wanted to blend a lot into the yellow because they're complementary colors and that would end up looking a little bit muddy or dark. So I'm gonna put a little tiny bit of blue turquoise course in between there because the purple will mix nicely with the turquoise as well. The yellow. So that's another trick that you can use to sort of shield some of your colors from each other, but still get that beautiful transition. And I really like how this this one on the far left here, I really like that purple. So we're gonna allow that to just hang out there, Add in a little more blue. And while this is still damp here, I want to darken that up. I want a lot of contrast, especially right here. So water colors don't have to be wishy washy. Go ahead and punch it up with some color. It will still be luminous and beautiful. Let that continue on there. And those colors will still move while this painting is drying. So we've got a lot of a lot of darks right there. That's nice. And I'm just sort of adding a little bit of water with a tiny bit of pigment here just to continue to carry that those colors through. I really loved that shape right there. Okay. And wherever you want to have some darkness, just add another darker color, and that provides some variety through the tree as well. So if you go outside again, the best way to learn how to paint something in nature is to go observe that thing in nature. Look at the trees and really Sterritt them for a few minutes, not just what you think they look like. But look at where the lights and darks are and pay attention to the shapes of those shadows , and what colors you could use for some of those shadows doesn't have to be a gray, not all shadows or gray. So think about color combinations that would lend themselves to the dark that you want while still giving you some vibrancy. And in this case, I'm just adding in a tiny little bit more while this is still moving, and I want this to be a bit less varied in this tree. I don't want it to look like a circus, so I'm just kind of toning that down just a little. And you can if you're studying color theory, you can look at what combinations of colors will give you darks so red and green her a good option, and I'm just kind of pulling some of these darks out to make the indication of some branches. You can do that in here. Branches can extend from the tree. You could even use the edge of your brush. The back end, and that will make some marks in the paper just is an indication of some branches. So I'm just using that the tip. And that kind of makes a little div it in the paper and allows the pigment to reside there and again, just indications of trunks. Nothing has to be perfect here. Just let that carry into the dark portion of the painting down here. So that place is it with your eye in the same place, and I may go in and just add, you know, maybe there's some other trunks. There's some trees behind that we don't necessarily see just for some variety, so that it doesn't look too uniform. And the beauty of how this glows is from the water. So it's okay if there's some water still moving there. That's a good thing. So that kind of broke that up a little bit so that there's not just one tree here. One tree there, you know, Look at your design and where you could add some variety and irregularity. Really? Because nature is typically people will say, I can't do this. I can't draw a straight line. There really aren't that many straight lines in nature. There are in architecture, but not necessarily nature. So we can all everyone can do this. And I hope you give it a shot and we'll come back and do just the last finishing touches. But in the meantime, I hope youll share these projects with me and join me on my instagram or Facebook page under Elizabeth and Rohrbaugh for both platforms. So I'm gonna let this dry and we'll come back and do the last touches. 10. Finishing Touches: coming back after this is all dry. I'm really happy with how this turned out. We've got a beautiful golden field here with a lot of sunshine right there. A great contrast between the lights in the darks and then this meandering water gives a lot of indication of reflection and again, more contrast. That all adds to the interest of the peace and the glowing, beautiful, luminous colors that we have in these trees. And really, you can use any colors you like. You could paint this whole scene with one color, and I would encourage you to do that as practice. Let's do that is a project as well. Please share some of the projects that you've done with me. Put them on skill share. Let others see them, send them to me if you like, in an email, or share them on my social media pages. I would love to connect with you, and one other tip I just wanted to show is if you're debating on whether a piece is finished or not, grab a mat and put that around it and you can see the impact that this gives again. It was on Lee, a four by six Piece of paper. It's very economical, and I use standard size mats and these, in fact, I picked up at a craft store for 50 cents. So you've got a finished piece of beautiful art ready to hang on your wall or give to a friend or maybe even sell it. I hope you enjoyed this. It's a lot of fun to dio and check back and see what other skill share classes I have. I'd love to connect with you there. 11. Thank You: I hope you enjoy that tutorial. And remember, the way to improve is to just paint. So keep going. Keep practicing. Paint this over and over again and share your project. I would love to see what you painted. Also, please leave me a review. If you enjoyed this class and check out my other skill share classes, you can also follow me on my social platforms Instagram and Facebook. Under Elizabeth and Rohrbaugh, I often paint their live. I love to connect with you, so send me a d m. Let me know what you're struggling with. I'd be happy to help until next time keep painting.