Master Watercolor Techniques And Paint Stunning Landscapes | Mandar Marathe | Skillshare

Master Watercolor Techniques And Paint Stunning Landscapes

Mandar Marathe, Fine Artist, Sculptor, Illustrator, Designer

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13 Lessons (1h 33m)
    • 1. Introduction

      1:50
    • 2. Watercolor effects Part 1

      6:18
    • 3. Watercolor effects Part 2

      6:14
    • 4. Landscape Demo 1 Sketch

      3:15
    • 5. Landscape Demo 1 Washes

      5:47
    • 6. Landscape Demo 1 Details

      11:43
    • 7. Landscape Demo 2 Sketch and Wash

      6:49
    • 8. Landscape Demo 2 Details Part 1

      9:39
    • 9. Landscape Demo 2 Details Part 2

      11:57
    • 10. Landscape Demo 3 Sketch and Wash

      7:17
    • 11. Landscape Demo 3 Details Part 1

      8:46
    • 12. Landscape Demo 3 Details Part 2

      8:43
    • 13. Landscape Demo 3 Details Part 3

      4:30

About This Class

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Painting with watercolors is easy if you know the right techniques. It's a unique medium that needs minimal supplies and can produce a wide range of effects on it's own. Every artist paints in a unique way and the goal of this class is to show you the techniques and show you my process of painting. Once you see and practice these techniques, you'll develop your way of painting. There is no right or wrong way. Exploration is the key to progress.

In this course, I show you the techniques specific to watercolor painting and then using those techniques show you demonstrations of painting. I start with a simple sketch and show you each and every stroke that I make to take the painting to completion.

I'll show you 3 complete watercolor Landscape Demonstrations with audio commentary.

What you'll learn:

We'll go through all the steps one by one.

Overview of supplies: Only the things you'll need to start. I keep this simple.
Watercolor techniques: Transparent washes, wet-in-wet, dry brush, glazing and wet over dry.
Color mixing: Mixing the required colors and paying more attention to value than color
Full length of demonstrations of painting with my commentary: Watch me paint over my shoulder and listen to my accompanying commentary.

Come, enjoy the adventure!

Transcripts

1. Introduction: welcome to the watercolor landscapes course, wherein we will learn to pray in stunning landscapes using watercolors. My name is Manda morality, and I believe in you through this course I've been painting for more than 30 years on, I've shown my work to numerous exhibitions. My work is also in personal and corporate collections in more than seven countries. Apart from creating art, I also teach art in my studio workshops as well as through online courses like these. I've designed the scores for the artist in you who wants to create symbol yet impactful, Markle abandons. By the end of this course, you will be able to look at an actual scene for a photograph and be able to confidently create a landscape painting. Based on that, I will be teaching you the techniques to simplify the scene on Get the painting effects. Peculiar toe water fella. Not only I show you every brush stroke that I mean on the color mixing that I do. I'll also show you how I do the preliminary sketch that makes the painting process easier and less restrictive. We'll go through this entire process step by step. Ideal student for the scores is a person who is interested in mortar color medium on who is ready to expand her skills. No prior fainting experience is necessary, but I only ask that you come open minded on, Be ready to learn, feel free to look through the video descriptions, and I look forward to seeing you inside the course. 2. Watercolor effects Part 1: Welcome to the lecture, in which we will look at six watercolor techniques, practicing these techniques independently and without the burden off. Completing a pending. We'll give you the necessary confidence to use them. Let's start with a wash technique washes the technique in which we apply a color or a large area off painting here, um, applying a broad stroke off civilian blue, and that's necessarily wash. Then let's go toe the next technique, which is vetting bed. So after the blue stroke, I introduce some Eliza in crimson into into the red color and see how it spreads into the blue color. This on the paper. Mixing off colors keeps the colors fresh, and here you can see that boil it and purple colors are created due to the vet colas, mixing into each other. Then I apply some yellow ocher to suggest some grass and some green to suggest the foreground in the small watercolor sketch, see that I'm applying red color before the early earlier is dry. I now leave this sketch to dry. Let's again apply on wash with our trauma in blue here and then paint a friend green just next to it as I have left a white strip off paper. In between these two colors, the blue and green are not mixing into each other. Then I introduce some born CNN to the green. This burnt sienna is introduced wetting bed and so that it creates a nice effect. And now comes a blue mountain suggested with a darker are clamoring blue breast stroke. Since the earlier layer is only partially dry at some places, the second layer of blue spreads and at other places it creates a sharp edge. Now let's look at our drivers technique. In this. The color should be ticker, and you should drag the brush over the surface of the paper so that you get a broken color effect. That's because the brush barely touches the surface on. It only touches the high 80 years of the paper. This technique is very useful in creating texture on a shimmering effect on the paper, you can see the dry brush technique more clearly with this close up. Now that the paper is dry, I can use dry brush technique on this kitsch. See how easy it is to indicate picture and grass With this technique, I'm just drying the brush along the surface. - Now let's see how began. Lift off some color from the paper. For this, the brush should be damp but should not have any color. I'm using such a damp brush to get some area on the paper and you can see that the color there is getting into the brush and I can white the brush and repeat the process again. This removes the color from the paper and I can create some light areas. With this technique. I'm trying to create some ripples in the water, which I've indicated. I know I'll go on and use different colors or the dry layer to complete this sketch. Notice that the colors do not spread on their own. Now this is called wet over dry technique where in the upper layer just sits weird. It is applied on does not mix with the underlying Lear. Uh, here is some yellow occur toe intensifying color intensified Good US 3. Watercolor effects Part 2: and I'm applying of it Green color or a friend green color in the foreground so that I get the yeah indication off a deflection. I'm adding some dark colors to indicate the reflection off the Big Three day, and somebody pulls here and there and some grass pitches poking through the surface of the water. And, of course, the reflection off the grass. Now here is Ah, wash off blue color over the uglier violet area to indicate a small hill in the bag down. This is also called glazing, in which we apply a tin layer off a color on an earlier painted media. So awash is something which is applied toe white paper and when there is some color, which is only the date on the paper, and you apply another earlier off a different color or the same Lee same color, it's guard glazing here. I'm indicating some our grass and the edge of the water on trying to adjust the reflection . My painting you have toe know when to stop ending. So in hindsight, I feel that I should have stopped somewhere at this stage and not proceeded. I had a bit more details into the painting. But then each new painting digits you something. And even if the painting goes bad, not all is lost because you have learned something with each new painting. I'm trying to remove some color from the reflection of the tree. - And now I'm tryingto indicate moon by lifting off some color from the sky area. See how I can get the white of the paper back with a damp brush, Okay. And I don't need it as white as the original people anyway, so that's that's the indication of the moon on. I'm adding some details to the tree. Oh, um, some dark 80 I wanted on the right inside just to balance their docks on the left, I'm using a very tin brush. I'm trying to indicate the reflection of the moon here. So in this lecture, we have seen all the six techniques off mortar Karlovic are commonly used, which are awash wetting where dry brush lifting off color from the paper pleasing. And the 6th 1 is red color or dry. See you in the next lecture. 4. Landscape Demo 1 Sketch: welcome to the lecture in which we would be painting this painting. So this is the output off this demo. It's always good to start with a simple sketch, even if you have a photograph from which you want to make a painting, it's a good practice toe. Draw a sketch based on that photograph. Simplify the shapes, reduce all the clutter on, keep only the important competence off the composition and then begin painting. So in that spirit, I'm going to start this sketch with a rectangular shape on a victory. The murderer, the distant trees I feel on the left inside some grass and the edge of the road, a distant mountain on the shadows, off the trees. Once the basic sketches done, I'm also going hired on adding the shading part. Just toe. Make sure that I know where the light is coming from on which area is in light and which area is in the shadow. Once these things are clear to me, I know what values off color will go into. My painting on that will make the painting work, even if my colors are off a bit. That completes the sketching part, which will lead to a painting later, so I'm now drawing the same skitch on the paper on which I'll be painting. I have taped the paper to the board so that it doesn't move and I also have the dimensions clear. I'm now indicating the trees and the grass in the left, inside off the painting, the distant mountains. And this time I will not add shading toe the drawing because I want to paint over that. I'll just indicate the shadows. But I will not have any shading with pencil to the drawing. So now I have the basic sketch ready on which I can start painting. 5. Landscape Demo 1 Washes: Welcome to the lecture where we will be applying some washes toe this painting or the wash I prefer to use in a broad brush, and I'm taking in some cobalt blue. I warned the washes, Toby, very thin, so I'm diluting the color a lot. Sometimes I add some civilian blue. Also on with the bold stroke. Here is the first wash going across the sky. No, that's That's the with a median and yellow from the palate, which I got the brush. So I'm making sure that the washes uniform. Now I need some green washes for the three, so I'm mixing in some chrome yellow into the blue, which I already had. So this is the wash for the feuds and some grasses on the right inside the small trees. Andi, also the Big Three. This wash is going to be a unifying color for whole green area, so I'm laying in a very thin layer of that. I also want to show some mortal puddles on the road on. That's why I have some blue wash on the road itself, and now I need some martyr color. Basically, I have added some read and burn sienna to create the Marty color or the Earth color on. I'm laying in the washes for that. I'm not putting these washes very carefully. I just want the colors to mix together. So if you can see, I'm just dragging the brush on the surface. And I'm Noah playing some yellow card to the dry grass, which I want to show on the left inside and some or thread color on both sides of the road . And I did allow this stage to dry before I apply any colors for the Now the first layer is dry, and I'm making a blue color bit again are promoting and cobalt blue. I wanted to be a green, so I added some chrome yellow and some yellow Colquitt mixing and totally on some Prussian blue, which gives it makes the color dark. Basically, I'm trying to adjust the color till I'm satisfied with the U and also the thickness of the color again, with the broad brush, I'm going to make a bold stroke, indicating the big three, but this broad and dark color adding some yellow here and they have just to give some highlights. I did. I added these this yellow when the original or the green layer off. The three was still bed and saw it mixed up. It got mixed with the clear green very nicely, and now I'm indicating the distant three on the trees on the. But I didn't side using a big brush. Has that went, is that you cannot go or you cannot paint too much in detail, and that's what my intention is here. So I'm awarding using smaller brushes as far as I can. Andi. Those are the initial washes or the second layer of the bush, which I applied, and I'll again allow this to dry before I had any other colors to it. 6. Landscape Demo 1 Details: will come to the part off the painting process where we add in details after the initial one or pool ears have dried up. So I'm trying to make some brownish color on adding some dipped could ah et on the right. Inside of that, I'm keeping the strokes as fluid as possible. I'm not making any strong edges. It is some indication all dark grass on the left hand side of your boat. In a rush, Try doing get some grass. Painting becomes a kind off in do their activity. Andi, After the certain stage, the painting tells you what it needs and you just have to follow that. So now I am putting one more layer off color on the fields. Avoiding the farm are the ideas which are too far away just below the mountain so that they remain light in color, on light, in value. And now I'm trying to indicate the mountain. We, uh, small round brush are hammering blue, and I introduced some brown color reddish brown so that the mountains don't look monitor on us again, mixing a dark color for the shadow area off the big tree. Andi, I'm just laying in the color with the soft touch of the brush so that I don't disturb the underlying layer off color, also indicating the darker or shadow side off the other trees. Okay, and I, they started toe broader Bryce, not around one. Keep things board on. Not very detailed in the state, since the light is coming from left inside the right inside off, all the trees will have the shadows or will be in shadows. That's what this dark color is suggesting, hiding some locating some dark brown with blue and burnt sienna for the shadow. I want darker started looking more blue Don good antica. Notice that the colors for gambling right now or in this stage off painting are much more ticker than what I used in the washed changes off the bending. And that's how it has to be and again has to be taken not to disturb down the langoliers off the color. When you applied the next layer, using the same color on the union on the right inside and also in agreed on the grass, I want to maintain that high late off yellow car just below the big three again in green color toe, some more color to the fields nearby, meticulous, dry, much lighter than they appear when there were. So you have to kind off calculate how much deep you have to go with practice. You can do it with lesser and lesser number off layers off colors, and that enhances the transparency. Transparency off the watercolor paintings. Multiple years also are suggesting ups and downs in the field with the grass or the crop is not a single modernise color. Now I'm adding some details on the three on the right inside, with a darker color and a smaller brush. So the general rule is when you start painting, you should start with thinner colors and broader brush on as you progress. You should go on using darker colors on Tina brushes, some undergrowth near the victory and some picture with dry brush on the road. I'm not taking a lot of color in the brush so that it can glide over the surface and create the picture and indicate the roughness of the road. The end of the road is the focal area off the bending, and that is supposed to have the highest contrast, and that's what I'm trying to make sure adding some water dark colored shadow near the base of the tree. The shadows are always darker near the object, which is costing the shadow and some some more picture for the role. Also notice how far I hold the brush, and it's not held like a pen when you write, the farther you can hold the brust, the loser your strokes become, and they look more interesting. And that's one of the reasons why these brushes are given long handed. Once you've mastered the techniques, you can use a sorter handle brush. But the longer handle always makes the task easy, and I think I can call this painting done. It's also necessary to know when to stop while painting, because beyond a certain point, the quality of the painting goes on, degrading that then enhancing with the details, one adding. So I'm just now removing the tape bodybuilder clean edge off the painting, and with the clean edge, the painting looks much more nicer. Andi, it's an easy way to give it a frame off itself. So that's it. And the last thing is, toe signed a bending Thank you and see you in the next picture 7. Landscape Demo 2 Sketch and Wash: welcome to the next demonstration or watercolor painting I am against starting with a pencil sketch that's high resin line on. I'm going some distant trees on a mountain in the background. Then there are some trees in the foreground, the bushes brother and these other trees, which I want to indicate. I'm not drawing detail. I'm just I just want to get an idea what the landscape would look like having some shading toe make things clearer on this is a painting off paddy fields. I want to draw some lines, which would indicate the benefit shooting for the distant doing just to get an idea they look like. And now I want to draw the same sketch on the paper on which I'll be actually making the bending. So I started with the paper taped the board Andi. Now I'll be redoing the sketch on this paper distant mountain on the breeze, I'm using Ah, soft 20 so that I don't get get any hard marks on the paper yet the shrubs in the foreground and the tree trunks. It is behind those strobes. I want these tree trunks Toby off different sizes and have different angles, so that they look really realistic coming to the ready feuds. The lines indicate the party field. So that's about the details which I want O have in the sketch. Now I'm mixing. Some are temarii in coburg blue with the widest brush had breast that I use on I give ah Brard wash to the sky media. - I'm mixing some more blue on. I want to show some water and the reflection off the sky in the water. That's why that bluegills help me later. Now I'm mixing a green on. Want to give a wash off green for the distant trees on the tree in the middle ground and this system or for the Greenfield, the Patty Feen and I want to show some open hurt or the idea where the party is not yet sewn. So I'm taking some burnt Sienna and somebody on indicating the landward. Oh, there's no party. I'm using the horizontal edge off the flat breast. Do this work and that's all what I want to ruin this stage off the spending on, and I let these layers or these washes drying before I add another layer off alerts 8. Landscape Demo 2 Details Part 1: welcome to the lecture where we had next layer of details to the Dr First Layer. Here I'm mixing some blue color. Are Domitian basically Onda playing it over the mountain area to indicate the distant mountain? Notice that I'm lightly dragging the brush over the mountain area because I don't want to disturb the first dried layer off color and in some ultimate in blue Andi burnt sienna, this time to make a dark color on some. Your local tryingto create a dark color, and I want to give a use it for no trees or the bushes in the middle ground, making slightly more bluish and, you know, or the distant trees, because they're distant. Trees look more bluest than the ones in the middle ground because of the atmospheric perspective effect you can t the the distant trees. The green color on the distant trees is getting most with the mountain because the color of the mountain is still bad. Now I'm again adding some lighter green toe, the middle ground bushes. I heard some born number on and burnt Sienna Andi, some ultra marine blue creator on a dish dark brown color on I'm using are giving a layer of that in the idea. But I want to showed ah, antidote. I'm using the site of the brush or the edge of the brush, and I don't want to lose the highlights. Since the first layer is slightly dry, I want to give a ticker layer off bloom in their distant trees. The second layer is, at least where, to the extent that the new layer will get. I will not create any hard edges but still in the layer. Be time applying will not spread too much because of the thickness of the pain, which I'm which I am on the brush, adding two more darks toe the middle ground and now with the tener brush I want to create. Some indicate some foliage off the trees in the middle grown. You can see that I'm using almost the same color mixture, which I've used when the other trees don't try to make it somewhat different. Biding right there. Some amount off yellow are Bill just to create some variation in the color and now, with a bigger brush shaken going and add the mosque off the foliage. I'm just showing you my way off painting this spending with the same photograph on with the same medium. Different artists will produce different looking paintings, and so there is nothing right or wrong. You should see this demo. Andi, paint the scene in your way. I don't want you toe copy my metal off painting or I'm not even saying that this is the right metal off pending. This is one of the ways you can paint a landscape watercolors. As you practice you will understand which style of pending you like more Andi, which appeal? It's more to you. So now with the yellowish green, I'm giving a second laid off wash in the feed of the party food and articular. It's important that you state a particular thing with a boil breaststroke and not go over it again and again. So I've left the foreground greens as they are right now. I'll come back to them if required. I want to light in the Krys because I think they're too dark for that distance. So I'm trying to lift off some color on adding some, like some yellow into the idea from where I removed the color drink around somebody dead school. The trees with their dark color Onda foliage in the middle ground. It's a good practice toe. Step back from the bending and then look at it from a distance. 9. Landscape Demo 2 Details Part 2: So now I'm painting the tree trunks with their dog bronco on D. C, where I'm holding the brush. It's almost near the end of the brush end of the handle of the brush, and that gives a ugliness to the stroke, and it gives the brush strokes come more fluidly. Then, if you hold a brush near the prisons, indicating some undergrowth on the smaller trees. With this brush, I can create one more tin that lines and adding some depth to the underside off the foliage. - Know that the field letting the foreground has dried. I'm using a dark green color to indicate the lines between online's in the feed on indicating some grass on the and just or the separators. I don't know what they're called exactly, and I don't like this line going exactly in the corner, so I will have to shift it a bit because that's a mistake from composition and point of view. But right now I'm going ahead with painting that the lines, these directional lines help the viewers attention, Andi, they take the focus, or they take the attention of the we were to the fore Felidia. - One of the things you can do to improve your painting is being the same scene twice or thrice, and you can see the difference. It makes toe depending. And that way you can award the mistakes, which you did in the first attempt at a world little mistake in the second attempt and so on. So I want to mix, make the foreground still darker. So I'm taking a dark green color again, and I want to also take the unfortunately, to fix the line, which was going right in the corner. You can see that this has this breastroke has been almost like or dry brush because you can see their texture and I'm darkening. The bush is in the middle ground, all right. No, they look too dark for me. But then let's see when they dry. What how much darkness they maintain. No, don't toward challenge with watercolors that the colostomy to apply become lighter when they dry, so don't try to adjust them. If you'll I feel that you need toe, remove them a bit, or reduce the darkness when they are wet, that them dry and then see if you actually do lift some color off the best way is to make another pending with the same scene and not will be in the mystics, but with lifting you can save. Some are even rescue about painting to some extent, applying some light green. Wash the reflection in the field again, mixing some dark color with burnt sienna on a blue on. Want to indicate some fence posts in the distance? Whenever you are drawing these friend post, don't draw them all. Perfectly vertical Jean there, Englebert, because that's how they are in the in reality. Now again, I'm darkening one side of the tree trunks. Now I'm using quite take color. - You can see there. I keep on using similar kinds off color mixtures Once I start painting. Yet I'm using greens and browns and some variations off those two complete depending. If you use a completely different color, which is not dead in the ideal ears, then that creates a bit off imbalance on using the similar or the same colors. To mix different different colors is a good way off unifying the whole painting. Nothing in the pending looks out off the order. I did some darks toe though base of the distant trees on I'm indicating the fields beyond the shrubs in the middle ground on, and I think I'm done with the painting. It's always a pleasure to remove the tape, and the painting is done as that gives nice border to the painting. So that's it on. It's time to say in the pending. 10. Landscape Demo 3 Sketch and Wash: Welcome to the third quarter color landscape demo. I'll be doing this demo based on a photograph. I clicked in the Corbett National Park. We start with sketching the major shapes. I'm indicating the and they were here in distant mountain and now coming to the Big Three shapes. I'm indicating only the outlines on that very lightly solar with color. These lines years off, and that's the basic sketch on. Now I'll start painting. I'm a playing some Clearwater to the sky idea so that the blue color, which are plate Ron, will spread more easily in some ultra marine blue and some Colbert blue on. I start applying that in the vet ideas. Painting the sky in landscape is ah is a tricky thing because you need to get things right for the first time. And generally sky is, ah, major area in most of the landscapes, so you have to do it properly. I'm drinking and just the color on the people now with a wet brush. I don't have a lot off color on the breast right now on its not coming the way I want the sky. Toby, let me play playing some our trumpet in tow The no portion of the sky where the skies are good and it gets later and later towards the horizon, not quite happy with this guy. When you have a lot off things going on in the foreground, the sky should be simpler. So I'm trying to make it simpler with this big brush. But now I have lost the highlights Are the white cloud on Let me see if I can get it back to some extents. I've wiped the brush and trying to lift off some color from the horizon and also taking off some color from the idea about so that I can indicate a white cloud trying to get that blew into the cream us so that we don't get a white hedge between the two big shapes. Now I leave the sky as it is too dry and I want Oh, I'm mixing yellow car on burnt sienna and trying toe given most to their distant no cliff and, uh, banks of the river you. This city were actually gets a lot of water in the monsoon season and during the dry season , the water level drops on it exposes Lord off media which is full off small pebbles on both the sides of the river. Uh, no. I want to indicate the green Mosses off the trees so mixed up green light green and giving a wash off that color toe. The three area. I didn't wait for the sky color to drive because I want the edges between the trees on the sky. We as software, they can get them with watercolor. It's You don't get the 100% of the results you want on, and it seems to have its own agenda. But then with each painting you keep on improving, see you in the next lecture. 11. Landscape Demo 3 Details Part 1: Welcome back. This first layer off wash has dried to some extent, and now I'll be starting with handing some details. So the distant mountain or the stone rich with the light brown color? I'm doing that. I don't want to create big contrasts here because, though object is far away from W, what on now? I want to indicate some trees on the top off the ridge with a very, very light color. Blue is green. Objects look more bluish when they're far away from the view. Because of that most perspective and the contrast between two objects decreases. And that's why these light colors some trees at the bottom off the ridge. The shapes also have to be simpler as they and recede into the distance. No, it makes now. I'm mixing dark blue brown color on adding, make it greener. No, and I want to applied to the base of the trees. You can see that, though I'm using a flat gosh, I'm using just one tip offered so that I can vary the breaststroke. - The light is supposed to be coming from top, right, and that's why the 80 years on the bottom left are darker trying to motor still dark green into the late green wash. Adding magenta toe make it slightly darker. This will. This color is even dunker than the earlier one on indicating they're deep shadows. We're almost no light is reaching and slightly lightened the color on light green. Do we need some vegetation on the bank of the river? Because it sits on a horizontal plane? It's not as dark as the shadow 80 off the tree is eating all these brush marks. What I'm doing right now are give the effect off volume through the trees, and now this is a tree, which is rising high above the rest of the dreams. Going somewhere, Tinto take me. They're not. When I just leave it in the wet bar, drop their dark color in the red green color hurt mixes to show the shared Eladio on. Now I want to indicate some a reflection of the tree in the water, so that's why I am. I am blurred, some green on now. I won't go being the remaining water with their dark color, and I'm leaving the green 80 years as they are on allowing the color dark color toe mix into those. The rule is usual. News has big brush as possible on right now. I can do this work with a bigger brush. Smart, so not doing it. It's like keeping a watch on yourself to see if you're doing the right thing. 12. Landscape Demo 3 Details Part 2: no. With the even Tina brush, I am indicating some Charito 80 years of the tree or redefining them and with the seam, brownish light, brownish color. I'm trying to indicate the stones on the bank of the river stones in members. As they recede into the distance, they become smaller and smaller. And as we've been, it's going to January. They should be bigger in size. This light color will become even lighter when it dries. That's because I don't want to take the attention away from the local area, which is the darkest re against their distant Stoneridge. Uh, so it's what I'm doing right now is just an indication off the picture on the bank of the river formed by the pebbles and some similar diction on the other bank, indicating some shared radio in the distant trees with a very, very light color. No, I'm mixing burnt Sienna on and our family in blue go bean the tree trunks, Yes, randomly printing some three drunks here and there just to break the monotony of the Lord green shape. Want to know darker the darkened, uh, water. And so I'm a blangger guard color made from born c nine are promoting. Do I'm carefully painting the water, leaving the green India's intact, which indicated the reflection off the please and sometimes using a dry brush over the reflection and no trying to indicate or darkened few stones. Charter. Closer to the viewer, Closer to board image again . My aim here is not to make these very strong contrast idea, because can hickory, though attentions on the local media See you in the next lecture. 13. Landscape Demo 3 Details Part 3: Welcome back again. Mixing or dark color with Bernstein Ah, and our family on I want to highlight on you in Dark Condo three. Trans Holding. The brush near the end of the brush on end of the handle clears nice strokes, and the strokes also get t 19 other as the distance increases. So it's a nice, wayto pain thin branches, even though we paint ah landscape based on a photograph, it should be used only till the point we cleared pencil sketch based on that. After that, the photograph should not be used as a reference on that. Ah, words making ah photocopy off the photograph and you can take your artistic license store Jeanne the things as the please you Andi, make the painting stronger. I know want to me the clouds more whiter, So I'm going to lift some blue color from the globally area. So I'm reading the surface and using a paper target toe lived the blue color. You can see that the effect of the cloud is now more prominent when more than the other, and I want to pick up the blue color to indicate smaller clouds each time. You don't decision use are different. Idea off the paper doll so that you don't get the blue color back on the paper from the people dollars, and that's all I want to paint on this painting. I'm taking off the paper tape to reveal a nice, clean edge. You should always pull the tape away from the painted area so that even if some portion off the paper comes off, you don't disturb the painted A here and which timeto signed the bending again. Now it's your turn.